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diff --git a/39211.txt b/39211.txt new file mode 100644 index 0000000..51532f3 --- /dev/null +++ b/39211.txt @@ -0,0 +1,7761 @@ +The Project Gutenberg eBook, Piano Playing, by Josef Hofmann + + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + + + + +Title: Piano Playing + With Piano Questions Answered + + +Author: Josef Hofmann + + + +Release Date: March 20, 2012 [eBook #39211] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK PIANO PLAYING*** + + +E-text prepared by Colin Bell, Johanna, Stephen Hutcheson, and the Online +Distributed Proofreading Team (http://www.pgdp.net) + + + +Note: Project Gutenberg also has an HTML version of this + file which includes the original illustrations. + See 39211-h.htm or 39211-h.zip: + (http://www.gutenberg.org/files/39211/39211-h/39211-h.htm) + or + (http://www.gutenberg.org/files/39211/39211-h.zip) + + + + + +[Illustration: _Josef Hofmann_] + + +PIANO PLAYING + +With Piano Questions Answered + +by + +JOSEF HOFMANN + + + + + + + +Copyright (C) 1909 by Doubleday, Page and Company; +renewed 1937 by J. Hofmann. + +(C) 1908 by McClure Company; renewed 1936 +by J. Hofmann. + +(C) 1920 by Theodore Presser Company; renewed +1947 by Josef Hofmann. + + + + +Piano Playing + + + + +TO MY DEAR FRIEND + +CONSTANTIN VON STERNBERG + + + + +CONTENTS + + + PAGE + + A FOREWORD xv + + THE PIANO AND ITS PLAYER 3 + + GENERAL RULES 19 + + CORRECT TOUCH AND TECHNIC 34 + + THE USE OF THE PEDAL 41 + + PLAYING "IN STYLE" 49 + + HOW RUBINSTEIN TAUGHT ME TO PLAY 57 + + INDISPENSABLES IN PIANISTIC SUCCESS 70 + + + + +LIST OF ILLUSTRATIONS + + + _Josef Hofmann_ _Frontispiece_ + + FACING + PAGE + + _The Position of the Hand_ 20 + + _Incorrect Way to Play an Octave_ 28 + + _Correct Way to Play an Octave_ 28 + + _Incorrect Position of the Little Finger_ 29 + + _Correct Position of the Little Finger_ 29 + + _Incorrect Position of Thumb_ 38 + + _Correct Position of Thumb_ 38 + + _Incorrect Position of the Feet_ 42 + + _Correct Position of the Feet on the Pedal_ 43 + + _Anton Rubinstein_ 58 + + _How Rubinstein Taught Me to Play_ 59 + + + + +A FOREWORD + + +This little book purposes to present a general view of artistic +piano-playing and to offer to young students the results of such +observations as I have made in the years of my own studies, as well as +of the experiences which my public activity has brought me. + +It is, of course, only the concrete, the material side of piano-playing +that can be dealt with here--that part of it which aims to reproduce in +tones what is plainly stated in the printed lines of a composition. The +other, very much subtler part of piano-playing, draws upon and, indeed, +depends upon imagination, refinement of sensibility, and spiritual +vision, and endeavours to convey to an audience what the composer has, +consciously or unconsciously, hidden _between_ the lines. That almost +entirely psychic side of piano-playing eludes treatment in literary form +and must, therefore, not be looked for in this little volume. It may +not be amiss, however, to dwell a moment upon these elusive matters of +aesthetics and conception, though it be only to show how far apart they +are from technic. + +When the material part, the technic, has been completely acquired by the +piano student, he will see a limitless vista opening up before him, +disclosing the vast field of artistic interpretation. In this field the +work is largely of an analytical nature and requires that intelligence, +spirit, and sentiment, supported by knowledge and aesthetic perception, +form a felicitous union to produce results of value and dignity. It is +in this field that the student must learn to perceive the invisible +something which unifies the seemingly separate notes, groups, periods, +sections, and parts into an organic whole. The spiritual eye for this +invisible something is what musicians have in mind when they speak of +"reading between the lines"--which is at once the most fascinating and +most difficult task of the interpretative artist; for, it is just +between the lines where, in literature as in music, the soul of a work +of art lies hidden. To play its notes, even to play them correctly, is +still very far from doing justice to the life and soul of an artistic +composition. + +I should like to reiterate at this point two words which I used in the +second paragraph: the words "consciously or unconsciously." A brief +comment upon this alternative may lead to observations which may throw a +light upon the matter of reading between the lines, especially as I am +rather strongly inclining toward the belief in the "unconscious" side of +the alternative. + +I believe that every composer of talent (not to speak of genius) in his +moments of creative fever has given birth to thoughts, ideas, designs +that lay altogether beyond the reach of his conscious will and control. +In speaking of the products of such periods we have hit upon exactly the +right word when we say that the composer "has surpassed himself." For, +in saying this we recognise that the act of surpassing one's self +precludes the control of the self. A critical, sober overseeing of one's +work during the period of creation is unthinkable, for it is the fancy +and the imagination that carries one on and on, will-lessly, +driftingly, until the totality of the tonal apparition is completed and +mentally as well as physically absorbed. + +Now, inasmuch as the composer's conscious will takes little or no part +in the creating of the work, it seems to follow that he is not, +necessarily, an absolute authority as to the "only correct way" of +rendering it. Pedantic adherence to the composer's own conception is, to +my mind, not an unassailable maxim. The composer's way of rendering his +composition may not be free from certain predilections, biases, +mannerisms, and his rendition may also suffer from a paucity of +pianistic experience. It seems, therefore, that to do justice to the +work itself is of far greater importance than a slavish adherence to the +composer's conception. + +Now, to discover what it is, intellectually or emotionally, that hides +itself between the lines; how to conceive and how to interpret it--that +must ever rest with the reproductive artist, provided that he possesses +not only the spiritual vision which entitles him to an individual +conception, but also the technical skill to express what this individual +conception (aided by imagination and analysis) has whispered to him. +Taking these two conditions for granted, his interpretations--however +punctiliously he adhere to the text--will and must be a reflex of his +breeding, education, temperament, disposition; in short, of all the +faculties and qualities that go to make up his personality. And as these +personal qualities differ between players, their interpretations must, +necessarily, differ in the same measure. + +In some respects the performance of a piece of music resembles the +reading of a book aloud to some one. If a book should be read to us by a +person who does not understand it, would it impress us as true, +convincing, or even credible? Can a dull person, by reading them to us, +convey bright thoughts intelligibly? Even if such a person were drilled +to read with outward correctness that of which he cannot fathom the +meaning, the reading could not seriously engage our attention, because +the reader's want of understanding would be sure to effect a lack of +interest in us. Whatever is said to an audience, be the speech literary +or musical, must be a free and individual expression, governed only by +general or is it aesthetic laws or rules; it must be free to be artistic, +and it must be individual to have vital force. Traditional conceptions +of works of art are "canned goods," unless the individual happens to +concur with the traditional conception, which, at best, is very rarely +the case and does not speak well for the mental calibre of the easily +contented treader of the beaten path. + +We know how precious a thing is freedom. But in modern times it is not +only precious, it is also costly; it is based upon certain possessions. +This holds as good in life as in art. To move comfortably with freedom +in life requires money; freedom in art requires a sovereign mastery of +technic. The pianist's artistic bank-account upon which he can draw at +any moment is his technic. We do not gauge him by it as an artist, to be +sure, but rather by the use he makes of it; just as we respect the +wealthy according to the way in which they use their money. And as there +are wealthy people that are vulgar, so there may be pianists who, +despite the greatest technic, are not artists. Still, while money is to +a gentleman perhaps no more than a rather agreeable adjunct, technic is +to the pianist's equipment an indispensable necessity. + +To assist young students in acquiring this necessity, the following +articles were written for _The Ladies' Home Journal_, and for this form +I have gone over them and corrected and amplified. I sincerely hope that +they will help my young colleagues to become free as piano-playing +musicians first, and that this, in its turn and with the help of good +fortune in their career, will bring them the means to make them equally +free in their daily life. + + JOSEF HOFMANN. + + + + +Piano Playing + + + + +THE PIANO AND ITS PLAYER + + +The first requisite for one who wishes to become a musicianly and +artistic pianist is a precise knowledge of the possibilities and +limitations of the piano as an instrument. Having properly recognised +them both, having thus staked off a stretch of ground for his activity, +he must explore it to discover all the resources for tonal expression +that are hidden within its pale. With these resources, however, he must +be contented. He must, above all, never strive to rival the orchestra. +For there is no necessity to attempt anything so foolish and so futile, +since the gamut of expressions inherent to the piano is quite extensive +enough to vouchsafe artistic results of the very highest order, +provided, of course, that this gamut is used in an artistic manner. + + +THE PIANO AND THE ORCHESTRA + +From one point of view the piano can claim to be the equal of the +orchestra; namely, in so far as it is--no less than the orchestra--the +exponent of a specific branch of music which, complete by itself, +reposes upon a literature exclusively its own and of a type so +distinguished that only the orchestra can claim to possess its peer. The +great superiority of the literature of the piano over that of any other +single instrument has, to my knowledge, never been disputed. I think it +is equally certain that the piano grants to its players a greater +freedom of expression than any other instrument; greater--in certain +respects--than even the orchestra, and very much greater than the organ, +which, after all, lacks the intimate, personal element of "touch" and +the immediateness of its variegated results. + +In dynamic and colouristic qualities, on the other hand, the piano +cannot bear comparison with the orchestra; for in these qualities it is +very limited indeed. The prudent player will not go beyond these limits. +The utmost that the pianist can achieve in the way of colour may be +likened to what the painters call "monochrome." For in reality the +piano, like any other instrument, has only one colour; but the artistic +player can subdivide the colour into an infinite number and variety of +shades. The virtue of a specific charm, too, attaches as much to the +piano as to other instruments, though, perhaps, in a lesser degree of +sensuousness than to some others. Is it because of this lesser sensuous +charm that the art of the piano is considered the chastest of all +instruments? I am rather inclined to think that it is, partly at least, +due to this chastity that it "wears" best, that we can listen longer to +a piano than to other instruments, and that this chastity may have had a +reflex action upon the character of its unparagoned literature. + +For this literature, though, we have to thank the pianists themselves, +or, speaking more precisely, we are indebted to the circumstance that +the piano is the only single instrument capable of conveying the +complete entity of a composition. That melody, bass, harmony, +figuration, polyphony, and the most intricate contrapuntal devices +can--by skilful hands--be rendered simultaneously and (to all intents +and purposes) completely on the piano has probably been the inducement +which persuaded the great masters of music to choose it as their +favourite instrument. + +It may be mentioned at this point that the piano did not have the effect +of impairing the orchestration of the great composers--as some musical +wiseacres assert from time to time--for they have written just as fine +works for a variety of other instruments, not to speak of their +symphonies. Thus has, for instance, the most substantial part of the +violin literature been contributed by piano-players (Bach, Mozart, +Beethoven, Mendelssohn, Brahms, Bruch, Saint-Saens, Tschaikowski, and +many others). As to the literature of the orchestra, it came almost +exclusively from those masters whose only, or chiefest, medium of +musical utterance was the piano. Highly organised natures, as they were, +they liked to dress their thoughts, sometimes, in the colour splendour +of the orchestra. Looking at the depth of their piano works, however, at +their sterling merit, at their poetry, I feel that even a refined +musical nature may find lifelong contentment in the piano--despite its +limitations--if, as I said before, the artist keeps within its +boundaries and commands its possibilities. For it is, after all, not so +very little that the piano has to offer. It is both governed and +manipulated by one and the same mind and person; its mechanism is so +fine and yet so simple as to make its tone response quite as direct as +that of any other stringed instrument; it admits of the thoroughly +personal element of touch; it requires no auxiliary instruments (for +even in the Concerto the orchestra is not a mere accompanist but an +equal partner, as the name "Concerto" implies); its limitations are not +as bad as those of some other instruments or of the voice; it outweighs +these limitations very fairly by the vast wealth of its dynamic and +touch varieties. Considering all these and many other points of merit, I +think that a musician may be pretty well satisfied with being a pianist. +His realm is in more than one respect smaller than that of the +conductor, to be sure, but on the other hand the conductor loses many +lovely moments of sweet intimacy which are granted to the pianist when, +world-oblivious and alone with his instrument he can commune with his +innermost and best self. Consecrated moments, these, which he would +exchange with no musician of any other type and which wealth can neither +buy nor power compel. + + +THE PIANO AND THE PLAYER + +Music makers are, like the rest of mankind, not free from sin. On the +whole, however, I think that the transgressions of pianists against the +canons of art are less grave and less frequent than those of other music +makers; perhaps, because they are--usually--better grounded as musicians +than are singers and such players of other instruments as the public +places on a par with the pianists I have in mind. But, while their sins +may be less in number and gravity--let it be well understood that the +pianists are no saints. Alas, no! It is rather strange, though, that +their worst misdeeds are induced by that very virtue of the piano of +requiring no auxiliary instruments, of being independent. If it were not +so; if the pianist were compelled always to play in company with other +musicians, these other players might at times differ with him as to +conception, tempo, etc., and their views and wishes should have to be +reckoned with, for the sake of both equilibrium and--sweet peace. + +Left entirely to himself, however, as the pianist usually is in his +performances, he sometimes yields to a tendency to move altogether too +freely, to forget the deference due to the composition and its creator, +and to allow his much-beloved "individuality" to glitter with a false +and presumptuous brightness. Such a pianist does not only fail in his +mission as an interpreter but he also misjudges the possibilities of the +piano. He will, for instance, try to produce six _forte-s_ when the +piano has not more than three to give, all told, except at a sacrifice +of its dignity and its specific charm. + +The extremest contrasts, the greatest _forte_ and the finest _piano_, +are given factors determined by the individual piano, by the player's +skill of touch, and by the acoustic properties of the hall. These given +factors the pianist must bear in mind, as well as the limitations of +the piano as to colour, if he means to keep clear of dilettanteism and +charlatanry. A nice appreciation of the realm over which he rules, as to +its boundaries and possibilities, must be the supreme endeavour of every +sovereign--hence also of every sovereign musician. + +Now, I hear it so often said of this and that pianist that "he plays +with _so_ much feeling" that I cannot help wondering if he does not, +sometimes at least, play with "_so_ much feeling" where it is not in the +least called for and where "_so_ much feeling" constitutes a decided +trespass against the aesthetic boundaries of the composition. My +apprehension is usually well founded, for the pianist that plays +_everything_ "with so much feeling" is an artist in name only, but in +reality a sentimentalist, if not a vulgar sensationalist or a ranter +upon the keyboard. What sane pianist would, for instance, attempt to +play a cantilena with the same appealing sensuousness as the most +mediocre 'cellist can do with the greatest ease? Yet many pianists +attempt it; but since they are fully aware that they can never attain +such ends by legitimate, artistic means, they make either the +accompaniment or the rhythm, if not the phrasing, bear the brunt of +their palpable dilettanteism. Of such illusory endeavours I cannot warn +too strongly, for they are bound to destroy the organic relation of the +melody to its auxiliaries and to change the musical "physiognomy" of a +piece into a--"grimace:" This fault reveals that the pianist's +spirit--of adventure--is too willing, but the flesh--of the fingers and +their technic--too weak. + +The artistic and the dilettantic manners of expression must be sharply +differentiated. They differ, principally, as follows: the artist knows +and feels how far the responsiveness of his instrument, at any +particular part of his piece, will allow him to go without violating +aesthetics, and without stepping outside of the nature of his instrument. +He shapes his rendition of the piece accordingly and practises wise +economy in the use of force and in the display of feeling. As to +feeling, _per se_, it is the ripe product of a multitude of aesthetic +processes which the moment creates and develops; but the artist will +keep this product from asserting itself until he has complied with every +requirement of artistic _workmanship_; until he has, so to speak, +provided a cleanly covered and fully set table upon which these matters +of "feeling" appear as finishing, decorative touches, say, as flowers. + +The dilettante, on the other hand, does not consume any time by thinking +and planning; he simply "goes for" his piece and, without bothering +about workmanship or squirming around it as best he may, he rambles off +into--"feeling," which in his case consists of naught but vague, +formless, aimless, and purely sensuous sentimentality. His accompaniment +drowns the melody, his rhythm goes on a sympathetic strike, dynamic and +other artistic properties become hysterical; no matter, he--"feels"! He +builds a house in which the cellar is under the roof and the garret in +the basement. + +Let it be said in extenuation of such a player that he is not always and +seldom wholly to blame for his wrong-doing. Very often he strays from +the path of musical rectitude because of his misplaced trust in the +judgment of others, which causes him to accept and follow advice in +good faith, instead of duly considering its source. For, under certain +conditions, the advice of even a connoisseur may be wrong. Many +professional and well-equipped critics, for instance, fall into the bad +habit of expecting that a pianist should tell all he knows in every +piece he plays, whether the piano does or does not furnish the +opportunities for displaying all his qualities. They expect him to show +strength, temperament, passion, poise, sentiment, repose, depth, and so +forth, in the first piece on his programme. He must tell his whole +story, present himself at once as a "giant" or "Titan" of the piano, +though the piece may call for naught but tenderness. With this demand, +or the alternative of a "roasting," public artists are confronted rather +frequently. Nor is this, perhaps, as much the fault of the critic as of +the conditions under which they must write. From my own experience and +that of others I know that the critics in large cities are so +overburdened with work during the season that they have seldom time to +listen to more than one piece out of a whole recital programme. After +such a mere sample they form their opinions--so momentous for the +career of a young pianist--and if this one piece happened to offer no +opportunities to the pianist to show himself as the "great" So-and-so, +why, then he is simply put down as one of the "littlefellows." It is no +wonder that such conditions tempt many young aspirants to public renown +to resort to aesthetic violence in order to make sure of "good notices"; +to use power where it is not called for; to make "feeling" ooze from +every pore; to double, treble the tempo or vacillate it out of all +rhythm; to violate the boundaries of both the composition and the +instrument--and all this for no other purpose than to show as quickly as +possible that the various qualities are "all there." These conditions +produce what may be called the pianistic nouveau-riche or parvenu, who +practises the vices of the dilettante without, however, the mitigating +excuse of ignorance or a lack of training. + + +THE PIANIST AND THE COMPOSITION + +As the piano, so has also every composition its limitations as to the +range of its emotions and their artistic expression. The hints in this +direction I threw out before may now be amplified by discussing a very +common error which underlies the matter of conception. It is the error +of inferring the conception of a composition _from the name of its +composer_; of thinking that Beethoven has to be played thus and Chopin +thus. No error could be greater! + +True, every great composer has his own style, his habitual mode of +thought development, his personality revealing lines. But it is equally +true that the imagination of all great composers was strong enough to +absorb them as completely in their own creation as the late Pygmalion +was absorbed in his Galatea, and to lure them, for the time being, +completely away from their habits of thought and expression; they become +the willing servants of the new creature of their own fancy. Thus we +find some of Beethoven's works as romantic and fanciful as any of +Schumann's or Chopin's could be, while some of the latter's works show +at times a good deal of Beethovenish classicity. It is, therefore, +utterly wrong to approach every work of Beethoven with the preconceived +idea that it must be "deep" and "majestic," or, if the work be Chopin's, +that it must run over with sensuousness and "feeling." How would such a +style of rendition do, for instance, for the Polonaise op. 53, or even +for the little one in A, op. 40, No. 1? On the other hand, how would the +stereotype, academic manner of playing Beethoven suit his Concerto in +G--that poetic presage of Chopin? + +Every great master has written some works that are, and some that are +not, typical of himself. In the latter cases the master's identity +reveals itself only to an eye that is experienced enough to detect it in +the smaller, more minute traits of his style. Such delicate features, +however, must be left in their discreet nooks and niches; they must not +be clumsily dragged into the foreground for the sake of a traditional +rendition of the piece. That sort of "reverence" is bound to obliterate +all the peculiarities of the particular, non-typical composition. It is +not reverence, but fetichism. Justice to the composer means justice to +his works; to every work in particular. And this justice we cannot +learn from the reading of his biography, but by regarding every one of +his works as a separate and complete entity; as a perfect, organic whole +of which we must study the general character, the special features, the +form, the manner of design, the emotional course, and the trend of +thought. Much more than by his biography we will be helped, in forming +our conception, by comparing the work in hand with others of the same +master, though the comparison may disclose just as many differences of +style as it may show similarities. + +The worship of names, the unquestioning acquiescence in traditional +conceptions--those are not the principles which will lead an artist to +come into his own. It is rather a close examination of every popular +notion, a severe testing of every tradition by the touchstone of +self-thinking that will help an artist to find himself and to see, what +he does see, with his own eyes. + +Thus we find that--in a certain constructive meaning--even the reverence +for the composer is not without boundaries; though these boundary lines +are drawn here only to secure the widest possible freedom for their +work. Goethe's great word expresses most tersely what I mean: + + Outwardly limited, + Boundless to inward. + + + + +GENERAL RULES + + +Successful piano-playing, if it cannot be entirely acquired by some very +simple rules, can, at least, be very much helped by what will seem to +some as contributing causes so slight as to be hardly worth notice. +Still, they are immensely valuable, and I will endeavour to set down a +few. + +_The Value of the Morning Hour_ above any other time is not generally +appreciated. The mental freshness gained from sleep is a tremendous +help. I go so far as to say play away for an hour, or a half hour even, +before breakfast. But before you touch the piano let me suggest one very +prosaic little hint: wash the keyboard as clean as you did your hands. +Eating always tastes best from a clean table. Just so with the piano: +you cannot do clean work on an unclean keyboard. + +_Now, as to Practice_: Let me suggest that you never practise more than +an hour, or, at the most, two hours, at a stretch--according to your +condition and strength. Then go out and take a walk, and think no more +of music. This method of mental unhitching, so to speak, is absolutely +necessary in order that the newly acquired results of your work +may--unconsciously to yourself--mature in your mind and get, as it were, +into your flesh and blood. That which you have newly learned must become +affixed to your entire organism, very much like the picture on a +photographic plate is developed and affixed by the silver bath. If you +allow Nature no time for this work the result of your previous efforts +will vanish and you will have to begin all over again with +your--photographing. Yes, photographing! For every acoustic or tone +picture is, through the agency of the ear, photographed in the brain, +and the whole occupation of the pianist consists in the reproduction of +the previously received impressions through the fingers, which, with the +help of the instrument, retranslate the pictures into audible tones. + +After every half hour make a pause until you feel rested. Five minutes +will often be sufficient. Follow the example of the painter, who +closes his eyes for a few moments in order to obtain upon reopening them +a fresh color impression. + +_A Valuable Little Hint Here_, if you will allow me: Watch well that you +actually hear every tone you mean to produce. Every missing tone will +mean a blotch upon your photographic plate in the brain. Each note must +be, not mentally but physically, heard, and to this imperative +requirement your speed must ever subordinate itself. It is not at all +necessary to practise loudly in order to foster the permanence of +impressions. Rather let an inward tension take the place of external +force. It will engage, sympathetically, your hearing just as well. + +_As to the Theory_--great energy, great results--I prefer my amended +version: great energy, restrained power and moderate manifestation of +it. Prepare the finger for great force, imagine the tone as being +strong, and yet strike moderately. Continuous loud playing makes our +playing coarse. On the other hand, continuous soft playing will blur the +tone picture in our mind and cause us soon to play insecurely and +wrongly. From time to time we should, of course, practise loudly so as +to develop physical endurance. But for the greater part of practice I +recommend playing with restrained power. And, incidentally, your +neighbours will thank you for it, too. + +_Do Not Practise Systematically_, or "methodically," as it is sometimes +called. Systematism is the death of spontaneousness, and spontaneousness +is the very soul of art. If you play every day at the same time the same +sequence of the same studies and the same pieces, you may acquire a +certain degree of skill, perhaps, but the spontaneity of your rendition +will surely be lost. Art belongs to the realm of emotional +manifestations, and it stands to reason that a systematic exploiting of +our emotional nature must blunt it. + +_With Regard to Finger Exercises_: Do not let them be too frequent or +too long--at the most a half hour a day. A half hour daily, kept up for +a year, is enough for any one to learn to play one's exercises. And if +one can play them why should one keep everlastingly on playing them? +Can anybody explain, without reflecting upon one's sanity, why one +should persist in playing them? I suggest to use these exercises as +"preliminary warmers" (as practised in engines). As soon as the hands +have become warm and elastic, or pliable--"played in," as we pianists +say--drop the exercises and repeat them for the same purpose the next +morning, if you will. They can be successfully substituted, however. As +compositions they are but lukewarm water. If you will dip your hands, +instead, for five minutes into hot water you will follow my own method +and find it just as efficacious. + +_A Rule for Memory Exercises_: If you wish to strengthen the receptivity +and retentiveness of your memory you will find the following plan +practical: Start with a short piece. Analyse the form and manner of its +texture. Play the piece a number of times very exactly with the music +before you. Then stop playing for several hours and try to trace the +course of ideas mentally in the piece. Try to hear the piece inwardly. +If you have retained some parts refill the missing places by repeated +reading of the piece, away from the piano. When next you go to the +piano--after several hours, remember--try to play the piece. Should you +still get "stuck" at a certain place take the sheet music, but play only +that place (several times, if necessary), and then begin the piece over +again, as a test, if you have better luck this time with those elusive +places. If you still fail resume your silent reading of the piece away +from the piano. Under no circumstances skip the unsafe place for the +time being, and proceed with the rest of the piece. By such forcing of +the memory you lose the logical development of your piece, tangle up +your memory and injure its receptivity. Another observation in +connection with memorising may find a place here. When we study a piece +we--unconsciously--associate in our mind a multitude of things with it +which bear not the slightest relation upon it. By these "things" I mean +not only the action of the piano, light or heavy, as it may be, but also +the colour of its wood, the colour of the wall paper, discoloration of +the ivory on some key of the piano, the pictures on the walls, the angle +at which the piano stands to the architectural lines of the room, in +short, all sorts of things. And we remain utterly unconscious of having +associated them with the piece we are studying--until we try to play the +well-learned piece in a different place, in the house of a friend or, if +we are inexperienced enough to commit such a blunder, in the concert +hall. Then we find that our memory fails us most unexpectedly, and we +blame our memory for its unreliableness. But the fact is rather that our +memory was only too good, too exact, for the absence of or difference +from our accustomed surroundings disturbed our too precise memory. +Hence, to make absolutely sure of our memory we should try our piece in +a number of different places before relying upon our memory; this will +dissociate the wonted environment from the piece in our memory. + +_With Regard to Technical Work_: Play good compositions and construe out +of them your own technical exercises. In nearly every piece you play you +will find a place or two of which your conscience tells you that they +are not up to your own wishes; that they can be improved upon either +from a rhythmical, dynamical or precisional point of view. Give these +places the preference for a while, but do not fail to play from time to +time again the whole piece in order to put the erstwhile defective and +now repaired part into proper relation to its context. Remember that a +difficult part may "go" pretty well when severed from its context and +yet fail utterly when attempted in its proper place. You must follow the +mechanic in this. If a part of a machine is perfected in the shop it +must still go through the process of being "mounted"--that is, being +brought into proper relation to the machine itself--and this often +requires additional packing or filing, as the case may be. This +"mounting" of a repaired part is done best by playing it in conjunction +with one preceding and one following measure; then put two measures on +each side, three, four, etc., until you feel your ground safely under +your fingers. Not until then have you achieved your purpose of technical +practice. The mere mastering of a difficulty _per se_ is no guarantee of +success whatever. Many students play certain compositions for years, and +yet when they are asked to play them the evidences of imperfection are +so palpable that they cannot have finished the learning of them. The +strong probability is that they never will finish the "study" of them, +because they do not study right. + +_As to the Number of Pieces_: The larger the number of good compositions +you are able to play in a finished manner, the better grow your +opportunities to develop your versatility of style; for in almost every +good composition you will find some traits peculiar to itself only which +demand an equally special treatment. To keep as many pieces as possible +in your memory and in good technical condition, play them a few times +each week. Do not play them, however, in consecutive repetitions. Take +one after the other. After the last piece is played the first one will +appear fresh again to your mind. This process I have tested and found +very helpful in maintaining a large repertory. + +[Illustration: _The Position of the Hand_] + +_Play Always with the Fingers_--that is, move your arms as little as +possible and hold them--and the shoulder muscles--quite loosely. The +hands should be nearly horizontal, with a slight inclination from the +elbows toward the keys. Bend the fingers gently and endeavour to touch +the keys in their centre and with the tips of the fingers. This will +tend toward sureness and give eyes to your fingers, so to speak. + +_The Practice of Finger Octaves_: Play octaves first as if you were +playing single notes with one finger of each hand. Lift the thumb and +fifth finger rather high and let them fall upon the keys without using +the wrist. Later let the wrist come to your aid, sometimes even the arm +and shoulder muscles, though the latter should both be reserved for +places requiring great power. + +Where powerful octaves occur in long continuation it is best to +distribute the work over the joints and muscles of the fingers, wrists, +and shoulders. With a rational distribution each of the joints will +avoid over-fatigue and the player will gain in endurance. This applies, +of course, only to bravura passages. In places where musical +characteristics predominate the player does best to choose whichever of +these sources of touch seems most appropriate. + +[Illustration: _Incorrect Way to Play an Octave_] + +[Illustration: _Correct Way to Play an Octave_] + + +[Illustration: _Photograph by Byron_ +_Incorrect Position of Little Finger_] + +[Illustration: _Correct Position of Little Finger_] + +_About Using the Pedal_: Beware of too frequent and--above all--of +long-continued use of the pedal. It is the mortal enemy of clarity. +Judiciously, however, you should use it when you study a new work, for +if you accustom yourself to play a work without the pedal the habit of +non-pedalling will grow upon you, and you will be surprised to find +later how your feet can be in the way of your fingers. Do not delay the +use of the pedal as if it were the dessert after a repast. + +_Never Play with a Metronome_: You may use a metronome for a little +passage as a test of your ability to play the passage in strict time. +When you see the result, positive or negative, stop the machine +at once. For according to the metronome a really musical rhythm is +unrhythmical--and, on the other hand, the keeping of absolutely strict +time is thoroughly unmusical and deadlike. + +You should endeavour to reproduce the sum-total of the time which a +musical thought occupies. Within its scope, however, you must vary your +beats in accordance with their musical significance. This constitutes in +musical interpretation what I call the individual pulse-beat which +imparts life to the dead, black notes. Beware, however, of being too +"individual"! Avoid exaggeration, or else your patient will grow +feverish and all aesthetic interpretation goes to the happy hunting +grounds! + +_The Correct Posture at the Piano_: Sit straight before the piano but +not stiff. Have both feet upon the pedals, so as to be at any moment +ready to use them. All other manners to keep the feet are--bad manners. +Let your hand fall with the arm upon the keyboard when you start a +phrase, and observe a certain roundness in all the motions of your arms +and hands. Avoid angles and sharp bends, for they produce strong +frictions in the joints, which means a waste of force and is bound to +cause premature fatigue. + +_Do Not Attend Poor Concerts._ Do not believe that you can learn correct +vision from the blind, nor that you can really profit by hearing how a +piece should _not_ be played, and then trying the reverse. The danger of +getting accustomed to poor playing is very great. What would you think +of a parent who deliberately sent his child into bad company in order +that such child should learn how _not_ to behave? Such experiments are +dangerous. By attending poor concerts you encourage the bungler to +continue in his crimes against good taste and artistic decency, and you +become his accomplice. Besides, you help to lower the standard of +appreciation in your community, which may sink so low that good concerts +will cease to be patronised. If you desire that good concerts should be +given in your city the least you can do is to withhold your patronage +from bad ones. If you are doubtful as to the merits of a proposed +concert ask your own or your children's music teacher. He will +appreciate your confidence and be glad of the opportunity to serve you +for once in a musical matter that lies on a higher plane than your own +or your children's music lesson. + +_To Those Who Play in Public_ I should like to say this: Before you have +played a composition in public two or three times you must not expect +that every detail of it shall go according to your wishes. Do not be +surprised at little unexpected occurrences. Consider that the acoustic +properties of the various halls constitute a serious danger to the +musician. Bad humor on your part, or a slight indisposition, even a +clamlike audience, Puritanically austere or cool from diffidence--all +these things can be overcome; but the acoustic properties remain the +same from the beginning of your programme to its end, and if they are +not a kindly counsellor they turn into a fiendish demon who sneers to +death your every effort to produce noble-toned pictures. Therefore, try +to ascertain, as early as possible, what sort of an architectural +stomach your musical feast is to fill, and then--well, do the best you +can. Approach the picture you hold in your mind as nearly as +circumstances permit. + +_When I Find Bad Acoustics in a Hall._ An important medium of rectifying +the acoustic misbehaviour of a hall I have found in the pedal. In some +halls my piano has sounded as if I had planted my feet on the pedal for +good and ever; in such cases I practised the greatest abstention from +pedalling. It is a fact that we have to treat the pedal differently in +almost every hall to insure the same results. I know that a number of +books have been written on the use of the pedal, but they are theories +which tumble down before the first adverse experience on the legitimate +concert stage. There you can lean on nothing but experience. + +_About Reading Books on Music._ And speaking of books on music, let me +advise you to read them, but not to believe them unless they support +every statement with an argument, and unless this argument succeeds in +convincing you. In art we deal far oftener with exceptions than with +rules and laws. Every genius in art has demonstrated in his works the +forefeeling of new laws, and every succeeding one has done by his +precursors as his successors have in their turn done by him. Hence all +theorising in art must be problematic and precarious, while dogmatising +in art amounts to absurdity. Music is a language--the language of the +musical, whatever and wherever be their country. Let each one, then, +speak in his own way, as he thinks and feels, provided he is sincere. +Tolstoi put the whole thing so well when he said: "There are only three +things of real importance in the world. They are: Sincerity! Sincerity! +Sincerity!" + + + + +CORRECT TOUCH AND TECHNIC + + +Great finger technic may be defined as extreme precision and great speed +in the action of the fingers. The latter quality, however, can never be +developed without the legato touch. I am convinced that the degree of +perfection of finger technic is exactly proportionate to the development +of the legato touch. The process of the non-legato touch, by showing +contrary results, will bear me out. To play a rapid run non-legato will +consume much more time than to play it legato because of the lifting of +the fingers between the tones. In playing legato the fingers are not +lifted off the keys, but--hardly losing contact with the ivory--glide +sideways to the right or the left as the notes may call for it. This, +naturally, saves both time and exertion, and thus allows an increase of +speed. + +How is the true legato accomplished? By the gliding motion just +mentioned, and by touching the next following key before the finger +which played last has fully abandoned its key. To illustrate, let me say +that in a run of single notes two fingers are simultaneously at +work--the "played" and the "playing" one; in runs of double notes +(thirds, sixths, etc.) the number of simultaneously employed fingers is, +analogously, four. Only in this manner is a true legato touch to be +attained. While the fingers are in action the hand must not move lest it +produce gaps between the succeeding tones, causing not only a breaking +of the connection between them but also a lessening of speed. The +transfer of the hand should take place only when the finger is already +in touch with the key that is to follow--not at the time of contact, +still less before. + +The selection of a practical fingering is, of course, of paramount +importance for a good legato touch. In attempting a run without a good +fingering we will soon find ourselves "out of fingers." In that +emergency we should have to resort to "piecing on," and this means a +jerk at every instance--equal to a non-legato. A correct fingering is +one which permits the longest natural sequel of fingers to be used +without a break. By earnest thinking every player can contrive the +fingering that will prove most convenient to him. But, admitting that +the great diversity of hands prohibits a universal fingering, all the +varieties of fingering ought to be based upon the principle of a natural +sequel. If a player be puzzled by certain configurations of notes and +keys as to the best fingering for them, he ought to consult a teacher, +who, if a good one, will gladly help him out. + +Precision, the other component part of finger technic, is intimately +related with the player's general sense of orderliness. As a matter of +fact, precision is orderliness in the technical execution of a musical +prescription. If the student will but look quite closely at the piece he +is learning; if he has the patience to repeat a difficult place in it a +hundred times if necessary--and correctly, of course--he will soon +acquire the trait of precision and he will experience the resultant +increase in his technical ability. + +Mental technic presupposes the ability to form a clear inward conception +of a run without resorting to the fingers at all. Since every action of +a finger has first to be determined upon by the mind, a run should be +completely prepared mentally before it is tried on the piano. In other +words, the student should strive to acquire the ability to form the +tonal picture in his mind, rather than the note picture. + +The tonal picture dwells in our imagination. This acts upon the +responsive portions of the brain, influences them according to its own +intensity, and this influence is then transferred to the motoric +nerve-centres which are concerned in music-making. As far as known this +is the course by which the musician converts his musical concept into a +tonal reality. Hence, when studying a new work, it is imperative that a +tonal picture of perfect clarity should be prepared in the mind before +the mechanical (or technical) practicing begins. In the earlier stages +of cultivating this trait it will be best to ask the teacher to play the +piece for us, and thus to help us in forming a correct tonal picture in +our mind. + +The blurring of the tonal picture produces a temporary (don't get +frightened!) paralysis of the motoric centres which control the +fingers. Every pianist knows--unfortunately--the sensation of having his +fingers begin to "stick" as if the keys were covered with flypaper, and +he knows, also, that this sensation is but a warning that the fingers +are going on a general and even "sympathetic" strike--sympathetic, +because even the momentarily unconcerned fingers participate in it. Now +the cause of this sensation lies not in a defective action of the +fingers themselves, but solely in the mind. It is there that some +undesired change has taken place, a change which impairs the action of +the fingers. The process is like this: by quick repetitions of +complicated figures, slight errors, slips, flaws escape our notice; the +more quick repetitions we make the larger will be the number of these +tiny blots, and this must needs lead finally to a completely distorted +tonal picture. This distortion, however, is not the worst feature. +Inasmuch as we are very likely not to make the same little blunders at +every repetition the tonal picture becomes confused, blurred. The nerve +contacts which cause the fingers to act become undecided first, then +they begin to fail more and more, until they cease altogether and the +fingers--stick! At such a juncture the student should at once resort to +slow practice. He should play the defective place clearly, orderly, and, +above all, slowly, and persist in this course until the number of +correct repetitions proves sufficient to crowd the confused tonal +picture out of the mind. This is not to be regarded as mechanical +practice, for it is intended for the rehabilitation of a disarranged or +disturbed mental concept. I trust this will speak for the practice of +what I called "mental technic." Make the mental tonal picture sharp; the +fingers must and will obey it. + +[Illustration: _Incorrect Position of Thumb_] + +[Illustration: _Correct Position of Thumb_] + +We are sometimes affected by "thought-laziness"--I translate this word +literally from other languages, because it is a good compound for which +I can find no better equivalent in English. Whenever we find the fingers +going astray in the piece we play we might as well admit to ourselves +that the trouble is in the main office. The mysterious controlling +officer has been talking with a friend instead of attending to business. +The mind was not keeping step with the fingers. We have relied on our +automatism; we allowed the fingers to run on and the mind lagged behind, +instead of being, as it should be, ahead of the fingers, preparing their +work. + +Quick musical thinking, the importance of which is thus apparent, cannot +be developed by any direct course. It is one of the by-products of the +general widening of one's musical horizon. It is ever proportionate to +the growth of one's other musical faculties. It is the result of +elasticity of the mind acquired or developed by constant, never-failing, +unremitting employment whenever we are at the piano. A procedure tending +directly toward developing quick musical thinking is, therefore, not +necessary. + +The musical will has its roots in the natural craving for musical +utterance. It is the director-in-chief of all that is musical in us. +Hence I recognise in the purely technical processes of piano-playing no +less a manifestation of the musical will. But a technic without a +musical will is a faculty without a purpose, and when it becomes a +purpose in itself it can never serve art. + + + + +THE USE OF THE PEDAL + + +To speak in a concrete manner of the pedal is possible only on the basis +of a complete understanding of the fundamental principle underlying its +use. The reader must agree to the governing theory that the organ which +governs the employment of the pedal is--the ear! As the eye guides the +fingers when we read music, so must the ear be the guide--and the "sole" +guide--of the foot upon the pedal. The foot is merely the servant, the +executive agent, while the ear is the guide, the judge, and the final +criterion. If there is any phase in piano-playing where we should +remember particularly that music is for the ear it is in the treatment +of the pedal. Hence, whatever is said here in the following lines with +regard to the pedal must be understood as resting upon the basis of this +principle. + +As a general rule I recommend pressing the lever or treadle down with a +quick, definite, full motion and always immediately after--mark me, +after--the striking of the keys, never simultaneously with the stroke of +the fingers, as so many erroneously assume and do. To prevent a +cacophonous mixture of tones we should consider that we must stop the +old tone before we can give pedal to the new one, and that, in order to +make the stopping of the past tone perfect, we must allow the damper to +press upon the vibrating strings long enough to do its work. If, +however, we tread down exactly with the finger-stroke we simply inhibit +this stopping, because the damper in question is lifted again before it +has had time to fall down. (In speaking of the dampers as moving up and +down I have in mind the action of the "grand" piano; in the upright +piano the word "off" must be substituted for "up," and "on" for "down.") +This rule will work in a vast majority of cases, but like every +rule--especially in art--it will be found to admit of many exceptions. + +[Illustration: _Photograph by Byron_ +_Incorrect Position of the Feet_] + +[Illustration: _Photograph by Byron_ +_Correct Position of the Feet on the Pedal_] + +_Harmonic Clarity in Pedalling is the Basis_, but it is only the basis; +it is not all that constitutes an artistic treatment of the pedal. In +spite of what I have just said above there are in many pieces moments +where a blending of tones, seemingly foreign to one another, is a means +of characterisation. This blending is especially permissible when the +passing (foreign) tones are more than one octave removed from the lowest +tone and from the harmony built upon it. In this connection it should be +remembered that the pedal is not merely a means of tone prolongation but +also a means of colouring--and pre-eminently that. What is generally +understood by the term piano-charm is to the greatest extent produced by +an artistic use of the pedal. + +For instance, great accent effects can be produced by the gradual +accumulating of tone-volume through the pedal and its sudden release on +the accented point. The effect is somewhat like that which we hear in +the orchestra when a crescendo is supported by a roll of the drum or +tympani making the last tap on the accented point. And, as I am +mentioning the orchestra, I may illustrate by the French horns another +use of the pedal: where the horns do not carry the melody (which they do +relatively seldom) they are employed to support sustained harmonies, +and their effect is like a glazing, a binding, a unifying of the various +tone-colours of the other instruments. Just such a glazing is produced +by the judicious use of the pedal, and when, in the orchestra, the horns +cease and the strings proceed alone there ensues a certain soberness of +tone which we produce in the piano by the release and non-use of the +pedal. In the former instance, while the horns were active they +furnished the harmonic background upon which the thematic development of +the musical picture proceeded; in the latter case, when the horns cease +the background is taken away and the thematic configurations stand +out--so to speak--against the sky. Hence, the pedal gives to the piano +tone that unifying, glazing, that finish--though this is not exactly the +word here--which the horns or softly played trombones give to the +orchestra. + +_But the Pedal Can Do More Than That._ At times we can produce strange, +glasslike effects by purposely mixing non-harmonic tones. I only need to +hint at some of the fine, embroidery-like cadenzas in Chopin's works, +like the one in his E-minor Concerto (Andante, measures 101, 102, and +103). Such blendings are productive of a multitude of effects, +especially when we add the agency of dynamic gradation: effects +suggestive of winds from Zephyr to Boreas, of the splash and roar of +waves, of fountain-play, of rustling leaves, etc. This mode of blending +can be extended also to entire harmonies in many cases where one +fundamental chord is to predominate for some time while other chords may +pass in quicker succession while it lasts. In such cases it is by no +means imperative to abandon the pedal; we need only to establish various +dynamic levels and place the ruling harmony on a higher level than the +passing ones. In other words, the predominating chord must receive so +much force that it can outlast all those briefer ones which, though +audible, must die of their own weakness, and while the strong, ruling +chord was constantly disturbed by the weaker ones it also re-established +its supremacy with the death of every weaker one which it outlasted. +This use of the pedal has its limitations in the evanescent nature of +the tone of the piano. That moment when the blending of non-harmonic +tones imperils the tonal beauty of the piece in hand can be determined +solely and exclusively by the player's own ear, and here we are once +more at the point from which this article started, namely: that the ear +is governor, and that it alone can decide whether or not there is to be +any pedal. + +It were absurd to assume that we can greatly please the ear of others by +our playing so long as our own ear is not completely satisfied. We +should, therefore, endeavour to train the susceptibility of our ear, and +we should ever make it more difficult to gain the assent of our own ear +than to gain that of our auditors. They may, apparently, not notice +defects in your playing, but at this juncture I wish to say a word of +serious warning: Do not confound unmindfulness with consent! To hear +ourselves play--that is, to listen to our own playing--is the bed-rock +basis of all music-making and also, of course, of the technic of the +pedal. Therefore, listen carefully, attentively to the tones you +produce. When you employ the pedal as a prolongation of the fingers (to +sustain tones beyond the reach of the fingers), see to it that you +catch, and hold, the fundamental tone of your chord, for this tone must +be always your chief consideration. + +_Whether You Use the Pedal as a Means of Mere Prolongation_ or as a +medium of colouring, under no circumstances use it as a cloak for +imperfection of execution. For, like charity, it is apt to be made to +cover a multitude of sins; but, again like charity, who wants to make +himself dependent upon it, when honest work can prevent it? + +Nor should the pedal be used to make up for a deficiency of force. To +produce a forte is the business of the fingers (with or without the aid +of the arm) but not of the pedal, and this holds true also--_mutatis +mutandis_--of the left pedal, for which the Germans use a word +(_Verschiebung_) denoting something like "shifting." In a "grand" piano +the treading of the left pedal shifts the hammers so far to one side +that instead of striking three strings they will strike only two. (In +the pianos of fifty and more years ago there were only two strings to +each tone, and when the hammers were shifted by the treading of the +left pedal they struck only one string. From those days we have retained +the term "_una corda_"--one string.) In an upright piano the lessening +of tone-volume is produced by a lessening of the momentum of the hammer +stroke. + +Now, as the right pedal should not be used to cover a lack of force, so +should the left pedal not be regarded as a licence to neglect the +formation of a fine _pianissimo_ touch. It should not cloak or screen a +defective _pianissimo_, but should serve exclusively as a means of +colouring where the softness of tone is coupled with what the jewellers +call "dull finish." For the left pedal does not soften the tone without +changing its character; it lessens the quantity of tone but at the same +time it also markedly affects the quality. + +To _Sum Up_: Train your ear and then use both pedals honestly! Use them +for what they were made. Remember that even screens are not used for +hiding things behind them, but for decorative purposes or for +protection. Those who do use them for hiding something must have +something which they prefer to hide! + + + + +PLAYING "IN STYLE" + + +By playing a piece of music "in style" is understood a rendition which +does absolute justice to its contents in regard to the manner of +expression. Now, the true manner of expression must be sought and found +for each piece individually, even though a number of different pieces +may be written by one and the same composer. Our first endeavour should +be to search out the peculiarity of the piece in hand rather than that +of the composer in general. If you have succeeded in playing one work by +Chopin in style, it does not follow, by any means, that you can play +equally well any other work from his pen. Though on general lines his +manner of writing may be the same in all his works, there will, +nevertheless, be marked differences between the various pieces. + +Only by careful study of each work by itself can we find the key to its +correct conception and rendition. We will never find it in books about +the composer, nor in such as treat of his works, but only in the works +themselves and in each one _per se_. People who study a lot of things +about a work of art may possibly enrich their general knowledge, but +they never can get that specific knowledge needful for the +interpretation of the particular work in hand. Its own contents alone +can furnish that knowledge. We know from frequent experience that +book-learned musicians (or, as they are now called, musicologists) +usually read everything in sight, and yet their playing rises hardly +ever above mediocre dilettanteism. + +Why should we look for a correct conception of a piece anywhere but in +the piece itself? Surely the composer has embodied in the piece all he +knew and felt when he wrote it. Why, then, not listen to his specific +language instead of losing our way in the terms of another art? +Literature is literature, and music is music. They may combine, as in +song, but one can never be substituted for the other. + +_Many Students Never Learn_ to understand a composer's specific language +because their sole concern is to make the piece "effective" in the +sense of a clever stunt. This tendency is most deplorable; for there +really does exist a specifically musical language. By purely material +means: through notes, pauses, dynamic and other signs, through special +annotations, etc., the composer encloses in his work the whole world of +his imagination. The duty of the interpretative artist is to extract +from these material things the spiritual essence and to transmit it to +his hearers. To achieve this he must understand this musical language in +general and of each composition in particular. + +But--how is this language to be learned? + +By conning with careful attentiveness--and, of course, absorbing--the +purely material matter of a piece: the notes, pauses, time values, +dynamic indications, etc. + +If a player be scrupulously exact in his mere reading of a piece it +will, of itself, lead him to understand a goodly portion of the piece's +specific language. Nay, more! Through a really correct conning the +player is enabled to determine upon the points of repose as well as upon +the matter of climax, and thus to create a basis for the operations of +his own imagination. After that, nothing remains but to call forth into +tonal life, through the fingers, what his musical intelligence has +grasped--which is a purely technical task. To transform the purely +technical and material processes into a thing that lives, of course, +rests with the natural, emotional, temperamental endowments of the +individual; it rests with those many and complex qualities which are +usually summarised by the term "talent," but this must be presupposed +with a player who aspires to artistic work. + +On the other hand, talent alone cannot lift the veil that hides the +spiritual content of a composition if its possessor neglects to examine +the latter carefully as to its purely material ingredients. He may +flatter the ear, sensuously speaking, but he can never play the piece in +style. + +_Now How Can We Know_ whether we are or are not approaching the +spiritual phase of a piece? By repetition under unremitting attention to +the written values. If, then, you should find how much there is still +left for you to do, you have proved to yourself that you have +understood the piece spiritually and are on the right track to master +it. With every repetition you will discover some hitherto unnoticed +defect in your interpretation. Obviate these defects, one by one, and in +so doing you will come nearer and nearer to the spiritual essence of the +work in hand. + +As to the remaining "purely technical task" (as I said before), it must +not be underestimated! To transmit one's matured conception to one's +auditors requires a considerable degree of mechanical skill, and this +skill, in its turn, must be under absolute control of the will. Of +course--after the foregoing--this does not mean that everybody who has a +good and well-controlled technic can interpret a piece in style. +Remember that to possess wealth is one thing, to put it to good use is +quite another. + +It is sometimes said that the too objective study of a piece may impair +the "individuality" of its rendition. Have no fear of that! If ten +players study the same piece with the same high degree of exactness and +objectivity--depend upon it: each one will still play it quite +differently from the nine others, though each one may think his +rendition the only correct one. For each one will express what, +according to his lights, he has mentally and temperamentally absorbed. +Of the distinctive feature which constitutes the difference in the ten +conceptions each one will have been unconscious while it formed itself, +and perhaps also afterward. But it is just this unconsciously formed +feature which constitutes legitimate individuality and which alone will +admit of a real fusion of the composer's and the interpreter's thought. +A purposed, blatant parading of the player's dear self through wilful +additions of nuances, shadings, effects, and what not, is tantamount to +a falsification; at best it is "playing to the galleries," charlatanism. +The player should always feel convinced that he plays only what is +written. To the auditor, who with his own and different intelligence +follows the player's performance, the piece will appear in the light of +the player's individuality. The stronger this is the more it will colour +the performance, when unconsciously admixed. + +_Rubinstein Often Said to Me_: "Just play first exactly what is written; +if you have done full justice to it and then still feel like adding or +changing anything, why, do so." Mind well: after you have done full +justice to what is written! How few are those who fulfil this duty! I +venture to prove to any one who will play for me--if he be at all worth +listening to--that he does not play more than is written (as he may +think), but, in fact, a good deal less than the printed page reveals. +And this is one of the principal causes of misunderstanding the esoteric +portion, the inherent "style" of a piece--a misunderstanding which is +not always confined to amateurs--inexact reading! + +The true interpretation of a piece of music results from a correct +understanding of it, and this, in turn, depends solely upon scrupulously +exact reading. + +_Learn the Language of Music_, then, I repeat, through exact reading! +You will then soon fathom the musical meaning of a composition and +transmit it intelligibly to your listeners. Would you satisfy your +curiosity as to what manner of person the author is or was at the time +of writing, you may do so. But--as I said in the "Foreword"--your chief +interest should centre in the "composition," not in the "composer," for +only by studying his work will you be enabled to play it in style. + + + + +HOW RUBINSTEIN TAUGHT ME TO PLAY + + +Outside of the regular students of the Imperial Conservatory of Music at +St. Petersburg, Rubinstein accepted but one pupil. The advantage and +privilege to be that one pupil was mine. + +I came to Rubinstein when I was sixteen years old and left him at +eighteen. Since that time I have studied only by myself; for to whom +could I have gone after Rubinstein? His very manner of teaching was such +that it would have made any other teacher appear to me like a +schoolmaster. He chose the method of indirect instruction through +suggestive comparisons. He touched upon the strictly musical only upon +rare occasions. In this way he wished to awaken within me the concretely +musical as a parallel of his generalisations and thereby preserve my +musical individuality. + +He never played for me. He only talked, and I, understanding him, +translated his meaning into music and musical utterances. Sometimes, for +instance, when I played the same phrase twice in succession, and played +it both times alike (say in a sequence), he would say: "In fine weather +you may play it as you did, but when it rains play it differently." + +Rubinstein was much given to whims and moods, and he often grew +enthusiastic about a certain conception only to prefer a different one +the next day. Yet he was always logical in his art, and though he aimed +at hitting the nail from various points of view he always hit it on the +head. Thus he never permitted me to bring to him, as a lesson, any +composition more than once. He explained this to me once by saying that +he might forget in the next lesson what he told me in the previous one, +and by drawing an entirely new picture only confuse my mind. Nor did he +ever permit me to bring one of his own works, though he never explained +to me his reason for this singular attitude. + +[Illustration: _Anton Rubinstein_] + +[Illustration: _How Rubinstein Taught Me to Play_] + +Usually, when I came to him, arriving from Berlin, where I lived, I +found him seated at his writing-desk, smoking Russian cigarettes. He +lived at the Hotel de l'Europe. After a kindly salute he would always +ask me the same question: "Well, what is new in the world?" + +I remember replying to him: "I know nothing new; that's why I came to +learn something new--from you." + +Rubinstein, understanding at once the musical meaning of my words, +smiled, and the lesson thus promised to be a fine one. + +I noticed he was usually not alone when I came, but had as visitors +several elderly ladies, sometimes very old ladies (mostly Russians), and +some young girls--seldom any men. With a wave of his hand he directed me +to the piano in the corner, a Bechstein, which was most of the time +shockingly out of tune; but to this condition of his piano he was always +serenely indifferent. He would remain at his desk studying the notes of +the work while I played. He always compelled me to bring the pieces +along, insisting that I should play everything just as it was written! +He would follow every note of my playing with his eyes riveted on the +printed pages. A pedant he certainly was, a stickler for the +letter--incredibly so, especially when one considered the liberties he +took when he played the same works! Once I called his attention modestly +to this seeming paradox, and he answered: "When you are as old as I am +now you may do as I do--if you can." + +Once I played a Liszt Rhapsody pretty badly. After a few moments he +said: "The way you played this piece would be all right for auntie or +mamma." Then rising and coming toward me he would say: "Now let us see +how we play such things." Then I would begin all over again, but hardly +had I played a few measures when he would interrupt and say: "Did you +start? I thought I hadn't heard right----" + +"Yes, master, I certainly did," I would reply. + +"Oh," he would say vaguely. "I didn't notice." + +"How do you mean?" I would ask. + +"I mean this," he would answer: "Before your fingers touch the keys you +must begin the piece mentally--that is, you must have settled in your +mind the _tempo_, the manner of touch, and, above all, the attack of +the first notes, before your actual playing begins. And by-the-bye, what +is the character of this piece? Is it dramatic, tragic, lyric, romantic, +humourous, heroic, sublime, mystic--what? Well, why don't you speak?" + +Generally I would mutter something after such a tirade, but usually I +said something stupid because of the awe with which he inspired me. +Finally, after trying several of his suggested designations I would hit +it right. Then he would say: "Well, there we are at last! Humourous, is +it? Very well! And rhapsodical, irregular--hey? You understand the +meaning?" I would answer, "Yes." + +"Very well, then," he would reply; "now prove it." And then I would +begin all over again. + +He would stand at my side, and whenever he wanted a special stress laid +upon a certain note his powerful fingers would press upon my left +shoulder with such force that I would stab the keys till the piano +fairly screamed for me. When this did not have the effect he was after +he would simply press his whole hand upon mine, flattening it out and +spreading it like butter all over the keys, black and white ones, +creating a frightful cacophony. Then he would say, almost with anger, +"But cleaner, cleaner, cleaner," as if the discord had been of my doing. + +Such occurrences did not lack a humourous side, but their turn into the +tragical always hung by a hair, especially if I had tried to explain or +to make excuses. So I generally kept silent, and I found, after some +experience, that was the only proper thing for me to do. For just as +quickly as he would flare up he would also calm down again, and when the +piece was ended I would hear his usual comment: "You are an excellent +young man!" And how quickly was all pain then forgotten! + +I remember on one occasion that I played Schubert-Liszt's "Erl-Koenig." +When I came to the place in the composition where the Erl-King says to +the child, "Thou dear, sweet child, oh, come with me," and I had played +several false notes besides very poor arpeggios, Rubinstein asked me: +"Do you know the text at this place?" + +As a reply I quoted the words. + +"Very well, then," he said, "the Erl-King addresses the child; Erl-King +is a spirit, a ghost--so play this place in a spiritlike way, ghostly, +if you will, but not ghastly with false notes!" + +I had to laugh at his word-play and Rubinstein himself chimed in, and +the piece was saved, or rather the player. For when I repeated that +particular part it went very well, and he allowed me to continue without +further interruption. + +Once I asked him for the fingering of a rather complex passage. + +"Play it with your nose," he replied, "but make it sound well!" + +This remark puzzled me, and there I sat and wondered what he meant. + +As I understand it now he meant: Help yourself! The Lord helps those who +help themselves! + +As I said before, Rubinstein never played for me the works I had to +study. He explained, analysed, elucidated everything that he wanted me +to know; but, this done, he left me to my own judgment, for only then, +he would explain, would my achievement be my own and incontestable +property. I learned from Rubinstein in this way the valuable truth that +the conception of tone-pictures obtained through the playing of another +gives us only transient impressions; they come and go, while the +self-created conception will last and remain our own. + +Now, when I look back upon my study-days with Rubinstein, I can see that +he did not so much instruct me as that I learned from him. He was not a +pedagogue in the usual meaning of that word. He indicated to me an +altitude offering a fine view, but how I was to get up there was my +affair; he did not bother about it. "Play with your nose!" Yes--but when +I bumped it till it fairly bled where would I get the metaphorical +handkerchief? In my imagination! And he was right. + +To be sure, this method would not work with all pupils, but it is +nevertheless well calculated to develop a student's original thought and +bring out whatever acumen he may possess. If such a one succeeded by his +own study and mental force to reach the desired point which the great +magician's wizardry had made him see, he had gained the reliance in his +own strength: he felt sure that he would always find that point +again--even though he should lose his way once or twice, as every one +with an honest aspiration is liable to do. + +I recall that Rubinstein once said to me: "Do you know why piano-playing +is so difficult? Because it is prone to be either affected or else +afflicted with mannerisms; and when these two pitfalls are luckily +avoided then it is liable to be--dry! The truth lies between those three +mischiefs!" + +When it was settled that I should make my Hamburg debut under his baton +with his own D-minor Concerto, I thought the time had come at last to +study with him one of his own works. So I proposed it, but Rubinstein +disposed of it! I still see him, as if it were but yesterday, seated in +the greenroom of the Berlin Philharmonic during an intermission in his +concert (it was on a Saturday) and telling me: "We shall appear together +in Hamburg on Monday." The time was short, but I knew the Concerto and +hoped to go through it with him some time in the remaining two days. I +asked his permission to play the Concerto for him, but he declined my +urgent request, saying: "It is not necessary; we understand each other!" +And even in this critical moment he left me to my own resources. After +the last (and only) rehearsal the great master embraced me before the +whole orchestra, and I--well, I was not in the seventh, but in the +"eighth" heaven! Everything was all right, I said to myself, for +Rubinstein, Rubinstein was satisfied! The public simply had to be! The +concert went off splendidly. + +After that memorable debut in Hamburg, which was on March 14, 1894, I +went directly to see Rubinstein, little dreaming that my eyes would then +see him for the last time. I brought with me a large photograph of +himself, and, though fully aware of his unconquerable aversion to +autographing, my desire for the possession of his signature overruled my +reluctance and I made my request. + +He raised both fists and thundered, half-angry and half-laughing: "_Et +tu, Brute?_" + +But my wish was granted, and I reproduce the portrait in this article. + +Then I asked him when I should play for him again, and to my +consternation he answered: "Never!" + +In my despair I asked him: "Why not?" + +He, generous soul that he was, then said to me: "My dear boy, +I have told you all I know about legitimate piano-playing and +music-making"--and then changing his tone somewhat he added: "And if you +don't know it _yet_, why, go to the devil!" + +I saw only too well that while he smiled as he said it he meant it +seriously, and I left him. + +I never saw Rubinstein again. Soon after that he returned to his villa +in Peterhof, near St. Petersburg, and there he died on November 19, +1894. + +The effect that his death had upon me I shall never forget. The world +appeared suddenly entirely empty to me, devoid of any interest. My grief +made me realise how my heart had worshipped not only the artist in him +but also the man; how I loved him as if he were my father. I learned of +his death through the English papers while I was _en route_ from London +to Cheltenham, where I was booked for a recital on the twentieth. The +B-flat minor Sonata by Chopin happened to be on the programme, and as I +struck the first notes of the Funeral March the whole audience rose from +their seats as if by command and remained standing with bowed heads +during the whole piece--in honour of the great departed. + +A singular coincidence occurred at my concert on the preceding day--the +day of Rubinstein's death. + +On this day I played for the first time in public after my seven years' +retirement (excepting my Hamburg debut). It was in London. In this +concert I played, as a novelty, a Polonaise in E-flat minor which +Rubinstein had but recently written in Dresden and dedicated to me. He +had included it in the set called "Souvenirs de Dresde." This piece has +throughout the character of a Funeral March in all but the +time-division. Little did I dream while I was playing it that day that I +was singing him into his eternal rest, for it was but a few hours later +that, in the far East of Europe, my great master passed away, suddenly, +of heart failure. + +Two years later I played this same Polonaise for the second and last +time. It was on the anniversary of his death, in St. Petersburg, where +in honour of his memory I gave a recital, the proceeds of which I +devoted to the Rubinstein Fund. Since then I have played this piece only +once, at home and to myself, excluding it entirely from my public +repertoire. For, though it was dedicated to me, the time and +circumstances of its initial performance always made me feel as if it +still belonged to my master, or, at best, as if it were something +personal and private between us two. + + + + +Indispensables in Pianistic Success + + +I + +"The Indispensables in Pianistic Success? Are not the indispensables in +all success very much the same? Nothing can take the place of real +worth. This is especially true of America, in which country I have lived +longer than in any other, and which I am glad to call my home. Americans +are probably the most traveled people of the world, and it is futile to +offer them anything but the best. Some years ago a conductor brought to +this country an orchestra of second-class character, with the idea that +the people would accept it just because it bore the name of a famous +European city which possessed one of the great orchestras of the world. +It was a good orchestra, but there were better orchestras in American +cities, and it took American audiences just two concerts to find this +out, resulting in a disastrous failure, which the conductor was man +enough to face and personally defray. The American people know the +best, and will have nothing but the best. Therefore, if you would make a +list of the indispensables of pianistic success in this country at this +time you must put at the head of your list, REAL WORTH. + +"Naturally, one of the first indispensables would include what many term +'the musical gift.' However, this is often greatly misunderstood. We +are, happily, past the time when music was regarded as a special kind of +divine dispensation, which, by its very possession, robbed the musician +of any claim to possible excellence in other lines. In other words, +music was so special a gift that it was even thought by some misguided +people to isolate the musician from the world--to make him a thing apart +and different from other men and women of high aspirations and +attainments. + +"It is true that there have been famous prodigies in mathematics, and in +games such as chess, who have given evidence of astonishing prowess in +their chosen work, but who, at the same time, seem to have been +lamentably under-developed in many other ways. This is not the case in +music at this day at least, for, although a special love for music and a +special quickness in mastering musical problems are indispensable, yet +the musicians are usually men and women of broad cultural development if +they desire it and are willing to work for it. + +"Nor can I concede that a very finely developed sense of hearing is in +all cases essential. The possession of what is known as absolute pitch, +which so many seem to think is a sure indication of musical genius, is +often a nuisance. Schumann did not possess it, and (unless I am +incorrectly informed) Wagner did not have absolute pitch. I have it, and +can, I believe, distinguish differences of an eighth of a tone. I find +it more disturbing than beneficial. My father had absolute pitch in +remarkable fashion. He seemed to have extremely acute ears. Indeed, it +was often impossible for him to identify a well-known composition if he +heard it played in a different key--it sounded so different to him. +Mozart had absolute pitch, but music, in his day, was far less +complicated. We now live in an age of melodic and contrapuntal +intricacy, and I do not believe that the so-called acute sense of +hearing, or highly developed sense of absolute pitch, has very much to +do with one's real musical ability. The physical hearing is nothing; +the spiritual hearing--if one may say so--is what really counts. If, in +transposing, for instance, one has associated the contents of a piece so +closely with its corresponding tonality that it is hard to play in any +other tonality, this constitutes a difficulty--not an advantage. + + +II + +"Too much cannot be said about the advantage of an early drill. The +impressions made during youth seem to be the most lasting. I am certain +that the pieces that I learned before I was ten years of age remain more +persistently in my memory than the compositions I studied after I was +thirty. The child who is destined for a musical career should receive as +much musical instruction in early life as is compatible with the child's +health and receptivity. To postpone the work too long is just as +dangerous to the child's career as it is dangerous to overload the pupil +with more work than his mind and body can absorb. Children learn far +more rapidly than adults--not merely because of the fact that the work +becomes more and more complicated as the student advances, but also +because the child mind is so vastly more receptive. The child's power +of absorption in music study between the ages of eight and twelve is +simply enormous; it is less between twelve and twenty; still less +between twenty and thirty, and often lamentably small between thirty and +forty. It might be represented by some such diagram as: + + --------------------------------------------------------------- + 30 to 40 years of age Limited Receptivity Limited Results + --------------------------------------------------------------- + 20 to 30 } Still Less Accomplishment + years of age } + --------------------------------------------------------------- + 12 to 20 } Less Accomplishment + years of age } + --------------------------------------------------------------- + 8 to 12 } + years } Greatest Receptivity + of } Greatest Accomplishment + age } + --------------------------------------------------------------- + +"Of course, these lines are only comparative, and there are exceptional +cases of astonishing development late in life, due to enormous ambition +and industry. Yet the period of highest achievement is usually early in +life. This is especially true in the arts where digital skill is +concerned. + +"All teachers are aware of the need for the best possible drill early in +life. The idea one so often hears expressed in America: 'Since my +daughter is only beginning her studies--any teacher will do,' has been +the source of great laxity in American musical education. If the father +who has such an idea would only transpose the same thought to the +building of a house he would be surprised to find himself saying: 'Since +I am only laying a foundation, any kind of trashy material will do. I +will use inferior cement, plaster, stone, bricks, decayed wood and cheap +hardware, and employ the cheapest labor I can procure. But when I get to +the roof I shall engage the finest roofmakers in the world!' + +"The beginning is of such tremendous importance that only the best is +good enough. By this I do not mean the most expensive teacher +obtainable, but someone who is thorough, painstaking, conscientious, +alert and experienced. The foundation is the part of the house in which +the greatest strength and thoroughness is required. Everything must be +solid, substantial, firm and secure, to stand the stress of use and the +test of time. Of course, there is such a thing as employing a teacher +with a big reputation and exceptional skill, who would make an excellent +teacher for an advanced student, but who might be incapable of laying a +good foundation for the beginner. One wants strength at the +foundation--not gold ornaments and marble trimmings and beautiful +decorations, fretwork, carving. Just as in great cities one finds firms +which make a specialty of laying foundations for immense buildings, so +it is often wise to employ a teacher who specializes in instructing +beginners. In European music schools this has almost always been the +case. It is not virtuosity that is needed in the makeup of the teacher +of beginners, but rather sound musicianship, as well as the +comprehension of the child psychology. Drill, drill, and more drill, is +the secret of the early training of the mind and hand. This is indicated +quite as much in games such as tennis, billiards and golf. Think of the +remarkable records of some very young players in these games, and you +will see what may be accomplished in the early years of the young +player. + +"In all arts and sciences, as one advances, complications and obstacles +seem to multiply in complexity until the point of mastery is reached; +then the tendency seems to reverse itself, until a kind of circle +carries one round again to the point of simplicity. I have often liked +to picture this to myself in this way: + +[Illustration] + +"It is encouraging for the student to know that he must expect to be +confronted with ever-increasing difficulties, until he reaches the point +where all the intense and intricate problems seem to solve themselves, +dissolving gradually into the light of a clear understanding day. This +is to me a general principle underlying almost all lines of human +achievement, and it appears to me that the student should learn its +application, not only to his own but to other occupations and +attainments. This universal line of life, starting with birth, mounting +to its climax in middle life, and then passing on to greater and greater +simplicity of means, until at death the circle is almost completed, is a +kind of human program which all successful men would appear to follow. +Perhaps we can make this clearer by studying the evolution of the steam +engine. + +"The steam engine started with the most primitive kind of apparatus. At +the very first it was of the turbine type. Hero of Alexander (Heron, in +Greek) made the first steam engine, which was little more than a toy. +According to some historians, Heron lived in the second century before +Christ, and according to others his work was done in the latter half of +the first century. He was an ingenious mathematician who often startled +the people of this time with his mechanical contrivances. It is +difficult to show the principle of his engine in an exact drawing; but +the following indicates in a crude way the application of steam force +something after the manner in which Heron first applied it. + +[Illustration] + +"A is a retort containing water, which is heated to steam, which issues +from the tube at B and is caught in the wheel in such a manner that the +wheel revolves. The principle is simplicity itself; and the noteworthy +fact is that--primitive as it is--it has the characteristic principle +involved in the turbine engine of to-day. After Heron many others +attempted to use controlled steam to produce force, until, in 1764, +James Watt made discoveries which paved the way for the modern steam +engine, constituting him virtually the inventor of the type. Thereafter, +the machinery became more and more complicated and enormous in size. +Double, triple and quadruple expansion types were introduced until, at +the Centennial Exposition at Philadelphia, in 1876, a giant engine was +exhibited by Corliss--a marvelous engine, with many elaborate details. +Then, having reached the maximum curve of complexity, engine +construction became more and more simple, and now we have turbine +engines, such as the Parsons engines, which are all far smaller and +simpler than their grandfathers of the seventies, but at the same time +vastly more powerful and efficient. + + +III + +"In the art of piano playing we have much the same line of curve. At +first there was childlike simplicity. Then, with the further development +of the art, we find the tendency toward enormous technical +accomplishment and very great complexity. Fifty years ago technic was +everything. The art of piano playing was the art of the musical +speedometer--the art of playing the greatest number of notes in the +shortest possible time. Of course, there were a few outstanding giants, +Rubinsteins, Liszts and Chopins, who made their technic subordinate to +their message; but the public was dazzled with technic--one might better +say pyrotechnics. Now we find the circle drawing toward the point of +simplicity again. Great beauty, combined with adequate technic, is +demanded rather than enormous technic divorced from beauty. + +"Technic represents the material side of art, as money represents the +material side of life. By all means achieve a fine technic, but do not +dream that you will be artistically happy with this alone. +Thousands--millions--of people believe that money is the basis of great +happiness, only to find, when they have accumulated vast fortunes, that +money is only one of the extraneous details which may--or may +not--contribute to real content in life. + +"Technic is a chest of tools from which the skilled artisan draws what +he needs at the right time for the right purpose. The mere possession +of the tools means nothing; it is the instinct--the artistic intuition +as to when and how to use the tools--that counts. It is like opening the +drawer and finding what one needs at the moment. + +"There is a technic which liberates and a technic which represses the +artistic self. All technic ought to be a means of expression. It is +perfectly possible to accumulate a technic that is next to useless. I +recall the case of a musician in Paris who studied counterpoint, harmony +and fugue for eight years, and at the end of that time he was incapable +of using any of his knowledge in practical musical composition. Why? +Because he had spent all of his time on the mere dry technic of +composition, and none in actual composition. He told me that he had been +years trying to link his technic to the artistic side of things--to +write compositions that embodied real music, and not merely the reflex +of uninspired technical exercises. I am a firm believer in having +technic go hand in hand with veritable musical development from the +start. Neither can be studied alone; one must balance the other. The +teacher who gives a pupil a long course in strict technic unbroken by +the intelligent study of real music, is producing a musical mechanic--an +artisan, not an artist. + +"Please do not quote me as making a diatribe against technic. I believe +in technic to the fullest extent in its proper place. Rosenthal, who was +unquestionably one of the greatest technicians, once said to me: 'I have +found that the people who claim that technic is not an important thing +in piano playing simply do not possess it.' For instance, one hears now +and then that scales are unnecessary in piano practice. A well-played +scale is a truly beautiful thing, but few people play them well because +they do not practice them enough. Scales are among the most difficult +things in piano playing; and how the student who aspires to rise above +mediocrity can hope to succeed without a thorough and far-reaching drill +in all kinds of scales, I do not know. I do know, however, that I was +drilled unrelentingly in them, and that I have been grateful for this +all my life. Do not despise scales, but rather seek to make them +beautiful. + +"The clever teacher will always find some piece that will illustrate the +use and result of the technical means employed. There are thousands of +such pieces that indicate the use of scales, chords, arpeggios, thirds, +etc., and the pupil is encouraged to find that what he has been working +so hard to acquire may be made the source of beautiful expression in a +real piece of music. This, to my mind, should be part of the regular +program of the student from the very start; and it is what I mean when I +say that the work of the pupil in technic and in musical appreciation +should go hand in hand from the beginning. + + +IV + +"The use of the pedal is an art in itself. Unfortunately, with many it +is an expedient to shield deficiency--a cloak to cover up inaccuracy and +poor touch. It is employed as the veils that fading dowagers adopt to +obscure wrinkles. The pedal is even more than a medium of coloring. It +provides the background so indispensable in artistic playing. Imagine a +picture painted without any background and you may have an inkling of +what the effect of the properly used pedal is in piano playing. It has +always seemed to me that it does in piano playing what the wind +instruments do in the tonal mass of the orchestra. The wind instruments +usually make a sort of background for the music of the other +instruments. One who has attended the rehearsal of a great orchestra and +has heard the violins rehearsed alone, and then together with the wind +instruments, will understand exactly what I mean. + +"How and when to introduce the pedal to provide certain effects is +almost the study of a lifetime. From the very start, where the student +is taught the bad effect of holding down the 'loud' pedal while two +unrelated chords are played, to the time when he is taught to use the +pedal for the accomplishment of atmospheric effects that are like +painting in the most subtle and delicate shades, the study of the pedal +is continuously a source of the most interesting experiment and +revelation. + +"There should be no hard-and-fast rules governing the use of the pedal. +It is the branch of pianoforte playing in which there must always be the +greatest latitude. For instance, in the playing of Bach's works on the +modern pianoforte there seems to have been a very great deal of +confusion as to the propriety of the use of the pedal. The Bach music, +which is played now on the keyboard of the modern piano, was, for the +most part, originally written for either the clavier or for the organ. +The clavichord had a very short sound, resembling in a way the staccato +touch on the present-day piano, whereas the organ was and is capable of +a great volume of sound of sustained quality. Due to the contradictory +nature of these two instruments and the fact that many people do not +know whether a composition at hand was written for the clavichord or for +the organ, some of them try to imitate the organ sound by holding the +pedal all the time or most of the time, while others try to imitate the +clavichord and refrain from the use of the pedal altogether. The extreme +theories, as in the case of all extreme theories, are undoubtedly wrong. + +"One may have the clavichord in mind in playing one piece and the organ +in mind in playing another. There can be nothing wrong about that, but +to transform the modern pianoforte, which has distinctly specific tonal +attributes, into a clavichord or into an organ must result in a tonal +abuse. + +"The pedal is just as much a part of the pianoforte as are the stops and +the couplers a part of the organ or the brass tangents a part of the +clavichord. It is artistically impossible to so camouflage the tone of +the pianoforte as to make it sound like either the organ or the +clavichord. Even were this possible, the clavichord is an instrument +which is out of date, though the music of Bach is still a part and +parcel of the musical literature of to-day. The oldest known specimen of +the clavichord (dated 1537) is in the Metropolitan Museum of Art, in New +York City. Should you happen to view this instrument you would realize +at once that its action is entirely different from that of the piano, +just as its tone was different. You cannot possibly make a piano sound +like a clavichord through any medium of touch or pedals. Therefore, why +not play the piano as a piano? Why try to do the impossible thing in +endeavoring to make the piano sound like another instrument of a +different mechanism? Why not make a piano sound like a piano? Must we +always endure listening to Wagner's music in a variety show and to +Strauss' waltzes in Carnegie Hall? + + +V + +"If one were to ask me what is the indispensable thing in the education +of a pianist, I would say: 'First of all, a good guide.' By this I do +not mean merely a good teacher, but rather a mentor, a pilot who can and +who will oversee the early steps of the career of a young person. In my +own case, I was fortunate in having a father, a professional musician, +who realized my musical possibilities, and from the very beginning was +intensely interested in my career, not merely as a father, but as an +artist guiding and piloting every day of my early life. Fate is such a +peculiar mystery, and the student, in his young life, can have but a +slight idea of what is before him in the future. Therefore, the need of +a mentor is essential. I am sure that my father was the author of a +great deal of the success that I have enjoyed. It was he who took me to +Moszkowski and Rubinstein. The critical advice--especially that of +Rubinstein--was invaluable to me. The student should have unrelenting +criticism from a master mind. Even when it is caustic, as was von +Buelow's, it may be very beneficial. I remember once in the home of +Moszkowski that I played for von Buelow. The taciturn, cynical +conductor-pianist simply crushed me with his criticism of my playing. +But, young though I was, I was not so conceited as to fail to realize +that he was right. I shook hands with him and thanked him for his +advice and criticism. Von Buelow laughed and said, 'Why do you thank me? +It is like the chicken thanking the one who had eaten it, for doing so.' +Von Buelow, on that same day played in such a jumbled manner with his +old, stiffened fingers, that I asked Moszkowski how in the world it +might be possible for von Buelow to keep a concert engagement which I +knew him to have a few days later in Berlin. Moszkowski replied: 'Let +von Buelow alone for that. You don't know him. If he sets out to do +something, he is going to do it.' + +"Von Buelow's playing, however, was almost always pedantic, although +unquestionably scholarly. There was none of the leonine spontaneity of +Rubinstein. Rubinstein was a very exacting schoolmaster at the piano +when he first undertook to train me; but he often said to me, 'The main +object is to make the music sound right, even though you have to play +with your nose!' With Rubinstein there was no _ignus fatuus_ of mere +method. Any method that would lead to fine artistic results--to +beautiful and effective performance--was justifiable in his eyes. + +"Finally, to the student let me say: 'Always work hard and strive to do +your best. Secure a reliable mentor if you can possibly do so, and +depend upon his advice as to your career. Even with the best advice +there is always the element of fate--the introduction of the +unknown--the strangeness of coincidence which would almost make one +believe in astrology and its dictum that our terrestrial course may be +guided by the stars. In 1887, when I played in Washington as a child of +eleven, I was introduced to a young lady, who was the daughter of +Senator James B. Eustis. Little did I dream that this young woman, of +all the hundreds and hundreds of girls introduced to me during my tours, +would some day be my wife. Fate plays its role--but do not be tempted +into the fallacious belief that success and everything else depend upon +fate, for the biggest factor is, after all, hard work and intelligent +guidance.'" + + + + +_Piano Questions Answered_ + + + + +CONTENTS + + TECHNIQUE PAGE + + 1. General 3 + + 2. Position of the Body 4 + + 3. Position of the Hand 6 + + 4. Position of the Fingers 6 + + 5. Action of the Wrist 9 + + 6. Action of the Arm 11 + + 7. Stretching 12 + + 8. The Thumb 14 + + 9. The Other Fingers 16 + + 10. Weak Fingers, etc. 18 + + 11. Staccato 21 + + 12. Legato 22 + + 13. Precision 25 + + 14. Piano Touch vs Organ Touch 26 + + 15. Fingering 27 + + 16. The Glissando 29 + + 17. Octaves 29 + + 18. Repetition Technique 34 + + 19. Double Notes 35 + + THE INSTRUMENT 35 + + THE PEDALS 39 + + PRACTICE 45 + + MARKS AND NOMENCLATURE 57 + + ABOUT CERTAIN PIECES AND COMPOSERS 75 + + 1. Bach 80 + + 2. Beethoven 83 + + 3. Mendelssohn 85 + + 4. Chopin 86 + + EXERCISES AND STUDIES 93 + + POLYRHYTHMS 96 + + PHRASING 98 + + RUBATO 100 + + CONCEPTION 102 + + FORCE OF EXAMPLE 104 + + THEORY 104 + + THE MEMORY 112 + + SIGHT-READING 117 + + ACCOMPANYING 117 + + TRANSPOSING 119 + + PLAYING FOR PEOPLE 120 + + ABOUT THE PIANO PER SE 127 + + BAD MUSIC 133 + + ETHICAL 135 + + PITCH AND KINDRED MATTERS 136 + + THE STUDENT'S AGE 138 + + TEACHERS, LESSONS AND METHODS 140 + + MISCELLANEOUS QUESTIONS 150 + + + + +A FOREWORD + + +This little book is compiled from the questions and my answers to them, +as they have appeared during the past two years in the _Ladies' Home +Journal_. Since the questions came mostly from young piano students and +cover a large number of matters important to the study of the piano, it +was thought that this republication might be of interest to piano +students in general, and that, gathered into a little volume, they might +form a new and perhaps not unwelcome sort of reference book. + +To serve as such and to facilitate the reader's search for any +particular subject, I have grouped the questions, together with their +answers, under special headings. + +It is only natural, however, that a book of this character cannot +contain more than mere suggestions to stimulate the reader's individual +thinking. Positive facts, which can be found in books on musical history +and in kindred works, are, therefore, stated only where they are +needful as a basis for the replies. Any rule or advice given to some +particular person cannot fit every other person unless it is passed +through the sieve of one's own individual intelligence and is, by this +process, so modified as to fit one's own particular case. + +There are, in addition to the questions presented and answered, one or +two points about piano-playing that would naturally not occur to the +average student. The opportunity to discuss those here is too favourable +to be allowed to pass, and as they hardly admit of precise +classification, I venture to offer them here as a brief foreword. + +To the hundreds of students who at various times have asked me: What is +the quickest way to become a great piano-player? I will say that such a +thing as a royal road, a secret trick, or a patent method to quickly +become a great artist, does not exist. As the world consists of atoms; +as it is the infinitely small things that have forced the microscope +into the scientist's hand, so does art contain numberless small, +seemingly insignificant things which, if neglected entirely, visit dire +vengeance upon the student. Instead of prematurely concerning himself +with his inspiration, spirituality, genius, fancy, etc., and neglecting +on their account the material side of piano study, the student should be +willing to progress from atom to atom, slowly, deliberately, but with +absolute certainty that each problem has been completely solved, each +difficulty fully overcome, before he faces the next one. Leaps, there +are none! + +Unquestionably it does sometimes happen that an artist suddenly acquires +a wide renown. In such a case his leap was not into greatness, but +merely into the public's recognition of it; the greatness must have been +in him for some time before the public became aware of it. If there was +any leaping, it was not the artist, but the public that did it. + +Let us not close our eyes to the fact that there have been--and probably +always will be--artists that gain a wide renown _without_ being great; +puffery, aided by some personal eccentricity, is quite able to mislead +the public, but these will, at best, do it only for a short time, and +the collapse of such a reputation, as collapse there must be, is always +sure, and sad to behold. + +The buoyancy of mind, its ability to soar, so necessary for both +creative and interpretative art, these are never impaired by close +attention to detail. If they should be destroyed by attention to detail, +it would not matter, for they cannot have been genuine; they can have +been but sentimental imaginings. Details are the very steps which, one +by one, lead to the summit of art; we should be careful not to lift one +foot before the other one rests quite securely upon its step. One +should--to illustrate--not be satisfied with the ability of "getting +through" some difficult passage "by the skin of the teeth" or "without +breaking down," but should strive to be able to play _with_ it, to toy +with it, in order to have it at one's beck and call in any variation of +mood, so as to play it as it pleases the mind and not only the fingers. +One should acquire sovereignty over it. + +This sovereignty is technique. But--technique is not art. It is only a +means to achieve art, a paver of the path toward it. The danger of +confounding technique with art itself is not inconsiderable, since it +takes a long time to develop a trustworthy technique; and this prolonged +association with one subject is apt to give it supremacy over all others +in one's mind. To guard against this serious danger the student should, +above all, never lose sight of the fact that music, as does any other +art, springs from our innate craving for individual expression. As +word-thought is transmitted from man to man by verbal language so are +feelings, emotions, moods--crystallized into tone-thought--conveyed by +music. The effects of music may, therefore, be ennobling and refining; +but they can as easily be degrading and demoralizing. For the saints and +sinners among music-makers are probably in the same proportion as among +the followers of other professions. The ethical value of music depends, +therefore, not upon the musician's technique, but solely upon his moral +tendencies. The student should never strive to dazzle his auditor's ear +with mere technical brilliancy, but should endeavour to gladden his +heart, to refine his feelings and sensibilities, by transmitting noble +musical thoughts to his mind. He should scorn all unnecessary, +charlatanish externalities and strive ever for the inwardness of the +composition he interprets; for, in being honest to the composition he +will also be honest to himself and thus, consciously or not, express his +own best self. If all musicians were sincere in this endeavour there +could be neither envy nor jealousy among them; advancing hand in hand +toward their common ideal they could not help being of mutual assistance +to each other. + +Art, not unlike religion, needs an altar around which its devotees may +congregate. Liszt, in his day, had erected such an altar in Weimar, and +as its high priest he stood, himself, before it--a luminous example of +devotion to art. Rubinstein did the same in St. Petersburg. Out of these +atmospheres, thanks to the inspiring influences of Liszt's and +Rubinstein's wonderful personalities, there have emerged a large number +of highly meritorious and some eminent artists. That many of them have +lacked the power in their later life to withstand the temptations of +quick material gain by descending to a lower plane is to be regretted, +but--such is life. Many are called, but few are chosen. Since those days +several of these "many" have attempted to create similar centres in +Europe. They failed, because they were not serving art, but rather made +art serve their own worldly purposes. + +The artists of talent no longer group themselves around the man of +genius. Perhaps he is not to be found just now. Each little celebrity +among the pianists keeps nowadays a shop of his own and all to himself. +Many of these shops are "mints," and some of them produce counterfeits. +As a matter of course, this separative system precludes all unification +of artistic principles and is, therefore, very harmful to the present +generation of students. The honest student who will discriminate between +these, sometimes cleverly masked, counterfeit mints, and a real art +altar must be of a character in which high principles are natively +ingrained. It might help him somewhat to remember that when there is no +good to choose we can always reject the bad. + +What is true of teachers is just as true of compositions. The student +should not listen to--should not, at least, repeat the hearing of--bad +compositions, though they may be called symphonies or operas. And he +can, in a considerable measure, rely upon his own instincts in this +matter. He may not--and probably will not--fully fathom the depths of a +new symphony at its first hearing, but he must have received general +impressions of sufficient power and clearness to make him _wish_ for +another hearing. When this wish is absent he should not hear the work +again from a mere sense of duty; it were far wiser to avoid another +hearing, for habit is a strong factor, and if we accustom our ear to +hear cacophonous music we are apt to lose our aversion to it, which is +tantamount to a loss of good, natural taste. It is with much of modern +music as it is with opium, morphine, and other deadly drugs. We should +shun their very touch. These musical opiates are sometimes manufactured +by persons of considerable renown; of such quickly gained renown as may +be acquired nowadays by the employment of commercialistic methods; a +possibility for which the venal portion of the public press must bear +part of the blame. The student should not be deceived by names of which +the general familiarity is of too recent a date. I repeat that he should +rather consult his own feelings and by following them contribute his +modest share toward sending some of the present "moderns" back into +their deserved obscurity and insignificance. + +I use the term "moderns" advisedly, for the true masters--some of whom +died but recently--have never stooped to those methods of +self-aggrandisement at which I hinted. Their places of honour were +accorded to them by the world because they were theirs, by right of +their artistic power, their genius and the purity of their art. My +advice to the students and to all lovers of music is: Hold on with all +your might to the school of sincerity and chastity in music! It is saner +and, morally and aesthetically, safer than the entire pack of our present +nerve-tickling, aye, and nerve-racking "modernists." Music should always +elevate; it should always call forth what, according to the demands of +time and place, is best in us. When, instead of serving this divine +mission, it speculates upon, and arouses, our lowest instincts for no +better purpose than to fill the pockets of its perpetrator, it should +receive neither the help nor the encouraging attention of any +noble-thinking and clean-minded man or woman. Passive resistance can do +a good deal on these premises. + +The matter of abstention from a certain type of music recalls to my mind +another evil from which Americans should abstain; it is the curious and +out-of-date superstition that music can be studied abroad better than +here. While their number is not very large, I personally can name five +American teachers who have struggled here for many a year without +gaining that high recognition which they deserve. And now? Now they are +in the various capitals of Europe, receiving the highest fees that were +ever paid for instruction, and they receive these high fees from +American students that throng their studios. That the indifference of +their compatriots drove these men practically out of their country +proved to be of advantage to them; but how ought those to be regarded +who failed to keep them here? The wrong is irreparable in so far as +these men do not think of returning to America except as visitors. The +duty of American students and lovers of good music is to see to it that +such capable teachers as _are_ still here should _remain_ here. The mass +of emigration to Europe of our music students should cease! If a student +has what is understood by "finished" his studies here and his teacher +sets him free, he may make a reconnoitring tour in Europe. The change of +views and customs will, no doubt, broaden his mind in certain +directions. But musically speaking, he will be sure to find that most of +the enchantment of Europe was due to its distance. Excepting the +excellent orchestras of Europe and speaking of the general music-making +there, it is at present not quite as good as it is here: neither is the +average music teacher in Europe a whit better than the man of equal +standing here. + +Americans should take cognizance of the fact that their country has not +stood still in music any more than in any other direction. Each year has +recorded an advancing step in its development. We must cease to compare +the Europe of to-day with the America of fifty years ago. At present +there is an astonishingly large number of clever and capable musicians +in America, and, as with good physicians and lawyers, their ability +usually stands in inverse proportion to the amount of their advertising. +It is these worthy teachers for whose sake the superstition of "studying +abroad" should be foresworn. What Uncle Sam has, in the field of music, +not directly produced he has acquired by the natural law of attraction; +now that so many talented and learned instructors, both native and +foreign, are here they should be given a fair opportunity to finish a +pupil's development as far as a teacher can do it, instead of seeing +him, half-done, rush off "to Europe." If I were not convinced that a +change on this score is possible, I should not have devoted so many +words to it. It is merely a question of making a start. Let me hope that +each reader of this little book may start this change, or, that, if +already started, he will foster and help it. If his efforts should be +disparaged by some, he need not feel disheartened, but remember that he +belongs to the "land of limitless possibilities." + +JOSEF HOFMANN. + + + + +PIANO QUESTIONS + + + + +TECHNIQUE + + +1. GENERAL + +[Sidenote: _What Does "Technique" Mean?_] + +What are the different techniques, and which one is most generally used? +What is the difference between them? + +Technique is a generic term, comprising scales, arpeggios, chords, +double notes, octaves, legato, and the various staccato touches as well +as the dynamic shadings. They are all necessary to make up a complete +technique. + +[Sidenote: _The More Technique the More Practice_] + +Why do pianists who have more technique than many others practise more +than these others? + +Why have the Rothschilds more secretaries than I have? Because the +administration of a large fortune entails more work than that of a small +one. A pianist's technique is the material portion of his artistic +possessions; it is his capital. To keep a great technique in fine +working trim is in itself a considerable and time-absorbing task. And, +besides, you know that the more we have the more we want. This trait is +not only human; it is also pianistic. + +[Sidenote: _How to Improve the Technique_] + +Should I endeavour to improve my technique by trying difficult pieces? + +You should not confine yourself to pieces that come easy to you, for +that would prevent all further technical progress. But beware of pieces +that are so difficult that you could not play them--in a slower +tempo--with absolute correctness. For this would lead to the ruin of +your technique and kill the joy in your studies. Play pieces that are +always a trifle harder than those you have completely mastered. Do not +emulate those who say: "I play already this or that," without asking +themselves "how" they play. Artistry depends ever upon the "how." + + +2. POSITION OF THE BODY + +[Sidenote: _Do Not Raise the Piano-Stool Too High_] + +Are the best results at the piano attained by sitting high or low? + +As a general rule, I do not recommend a high seat at the piano, because +this induces the employment of the arm and shoulders rather than of the +fingers, and is, of course, very harmful to the technique. As to the +exact height of the seat, you will have to experiment for yourself and +find out at which height you can play longest with the least fatigue. + +[Sidenote: _The Height of the Piano Seat_] + +Is my seat at the piano to be at the same height when I practise as when +I play for people? + +Yes! Height and distance (from the keyboard) of your chair--which should +never have arms--you should decide for yourself and once for all time; +for only then can you acquire a normal hand position, which, in its +turn, is a condition _sine qua non_ for the development of your +technique. See also to it that both feet are in touch with their +respective pedals so as to be in place when their action is required. If +they stray away and you must grope for the pedals when you need them it +will lead to a break in your concentration, and this will cause you to +play less well than you really can. To let the feet stray from the +pedals easily affects your entire position. It is a bad habit. Alas, +that bad habits are so much easier acquired than good ones! + + +3. POSITION OF THE HAND + +[Sidenote: _The Tilt of The Hand in Playing Scales_] + +Should my hand in playing scales be tilted toward the thumb or toward +the little finger? I find that in the scales with black keys it is much +easier to play the latter way. + +I quite share your opinion, and extend it also to the scales without +black keys. I think the natural tendency of the hands is to lean toward +the little finger, and as soon as you have passed the stage of +preliminary training, as soon as you feel fairly certain that your +fingers act evenly, you may yield to their natural tendency, especially +when you strive more for speed than force; for speed does not suffer +tension, while force craves it. + + +4. POSITION OF THE FINGERS + +[Sidenote: _The Results Count, Not the Methods_] + +Does it make any difference if my fingers are held very much curved or +only a little? I was told that Rubenstein used his fingers almost flat. + +Since you mention Rubinstein I may quote his saying: "Play with your +nose, if you will, but produce euphony (_Wohlklang_) and I will +recognize you as a master of your instrument." It is ever a question of +the result, whether you play this way or that way. If you should play +with very much curved fingers and the result should sound uneven and +pieced, change the curving little by little until you find out what +degree of curvature suits your hand best. Experiment for yourself. +Generally speaking, I recommend a free and easy position of hand and +fingers, for it is only in a position of greatest freedom that their +elasticity can be preserved, and elasticity is the chief point. By a +free and easy position I mean that natural position of hand and fingers +into which they fall when you drop your hand somewhat leisurely upon the +keyboard. + +[Sidenote: _Cantabile Passages_] + +Should a cantabile passage be played with a high finger-stroke or by +using the weight of the arm? + +Certain characteristic moments in some pieces require the high +finger-stroke. It may be used also in working up a climax, in which +case the raising of the fingers should increase proportionately to the +rise of the climax. Where, however, the strength of the fingers is +sufficient to obtain the climacteric result by pressure, instead of the +stroke, it is always preferable to use pressure. As a general principle, +I believe in the free-hanging, limp arm and recommend using its weight +in cantabile playing. + +[Sidenote: _An Incorrect Position of the Fingers_] + +Pray how can I correct the fault of bending out the first joints of the +fingers when their cushions are pressed down upon the keys? + +Your trouble comes under the head of faulty touch, which nothing will +correct but the constant supervision by a good teacher, assisted by a +strong exertion of your own will power and strictest attention whenever +you play. This bending out of the first joint is one of the hardest +pianistic ailments to cure, but it is curable. Do not be discouraged if +the cure is slow. The habit of years cannot be thrown off in a day. + + +5. ACTION OF THE WRIST + +[Sidenote: _Don't Stiffen the Hands in Playing Scales_] + +Should the hands be kept perfectly still in playing scales and +arpeggios? Or, to lessen fatigue, is an occasional rise and fall of the +wrist permissible in a long passage of scale or arpeggio? + +The hands should, indeed, be kept still, but not stiff. Protracted +passages of scales or arpeggios easily induce a stiffening of the wrist. +Hence, an occasional motion of the wrist, upward and downward, will do +much to counteract this tendency. It will, besides, be a good test of +the looseness of the wrist. + +[Sidenote: _The Loose Wrist_] + +Is it not impossible to preserve a complete looseness of the wrist in +piano-playing because of the muscles that connect the forearm with the +hand? + +By no means. You should only see to it that you do not stiffen the wrist +_unconsciously_, as most players do. The arm should be held so that the +wrist is on a line with it, not bent, and by concentrated thinking you +should endeavour to transfer the display of force to the finger-tips +instead of holding the tension in your arm. For this produces fatigue, +while the way I suggest will lead you to develop considerable force +through the hand and fingers alone and leave the arm practically limp +and loose. It takes months of study under closest attention, however, to +acquire this looseness of the arm. + +[Sidenote: _The Position of the Wrist_] + +Do you favour a low or high position of the wrist for average type of +work? + +For average work, I recommend an average position; neither high nor low. +Changes, upward or downward, must be made to meet the requirements of +special occasions. + +[Sidenote: _Do Not Allow the Wrist to Get Stiff_] + +If one's wrist is stiff is there any set of exercises especially adapted +to acquiring a freer movement? Or is there any special method of +exercise? + +It depends on whether your wrist is stiff from non-use or from wrong +use. Assuming the latter, I should recommend studies in wrist octaves, +but you must watch your wrist while playing and rest at the slightest +indication of its stiffening. + + +6. ACTION OF THE ARM + +[Sidenote: _When Tremolo Proves Unduly Fatiguing_] + +I cannot play tremolo in the left hand for any length of time without +great fatigue. I have tried changing the position of the hand from high +to low, the sidewise motion, and the quiet hand. What is the correct +method, and may the difficulty be overcome by slow practice? + +The tremolo cannot be practised slowly, nor with a stiff or quiet hand. +The action must be distributed over the hand, wrist, underarm and, if +necessary, the elbow. The shoulder forms the pivot whence a vibratory +motion must proceed and engage all the points on the road to the +fingers. The division of labour cannot be done consciously, but should +better proceed from a feeling as if the whole arm was subjected to an +electric current while engaged in playing a tremolo. + +[Sidenote: _Play Chords With a Loose Arm_] + +Should octave chords be played with rigid arms, the wrists and fingers +thereby increasing the tone volume, or should the arms be loose? My +teachers differ in their methods; so I turn to you for advice. + +With few exceptions, dictated by certain characterizations, chords +should always be played with a loose arm. Let the arm pull the hand +above the keys and then let both fall heavily upon them, preparing the +fingers for their appropriate notes while still in the air and not, as +many do, after falling down. This mode of touch produces greater +tone-volume, is least fatiguing, and will have no bad after-effects. + + +7. STRETCHING + +[Sidenote: _Fatiguing the Hand by Stretching_] + +I stretch between my fingers--taking the second and third, for instance, +and trying to see how many keys I can get between them. It has helped +me, but shall I be doing wrong to continue? + +If, as you say, you feel benefited by your stretching exercises you may +continue them. But in your place I should beware of fatigue, for while +the hand may show an improvement in its stretch while you are practising +these exercises, if it is fatigued it will afterward contract so that +its stretch is liable to become narrower than it was before. + +[Sidenote: _Do Not Injure the Hand by Stretching It_] + +Is there any way to increase the stretch of my very small hand? + +Any modern teacher, acquainted with stretching your hand, can devise +certain exercises that will be applicable to your particular hand. As +the lack of stretch, however, may be due to a number of different causes +I should advise you to desist from any stretch exercise that might be +recommended to you without a close examination of your hand, since the +wrong kind of exercise is not only apt, but bound, to injure it, perhaps +permanently. + +[Sidenote: _A Safe Way of Stretching the Small Hand_] + +Is there any exercise, on the piano or otherwise, that would tend to +stretch my hand so as to enable me to play octaves? My fingers are short +and stubby. My teacher has not given me anything definite on this score. + +The attempts to widen the natural stretch of the hand by artificial +means lead easily to disastrous results. It was by just such attempts +that Schumann rendered his hand useless for piano-playing. The best I +can recommend is that before playing you soak your hands in rather hot +water for several minutes and then--while still in the water--stretch +the fingers of one hand with the other. By doing this daily you will +gain in stretch, provided you refrain from forcing matters, and provided +also that you are still young, and your hands are flexible. + + +8. THE THUMB + +[Sidenote: "_What is the Matter With My Scales?_"] + +What is the matter with my scales? I cannot play them without a +perceptible jerk when I use my thumb. How can I overcome the unevenness? + +In answering this question I am in the position of a physician who is +expected to prescribe a treatment for a patient whom he has neither +examined nor even seen. I can therefore advise only in a very general +way--as I have done with many questions to avoid the eventuality of +being confronted by an exceptional case. The cause of the hand's unrest +in the passing of the thumb lies usually in transferring the thumb too +late. The thumb waits usually until the very moment when it is needed +and then quickly jumps upon the proper key, instead of moving toward it +as soon as the last key it touched can be released. This belatedness +causes a jerky motion of the arm and imparts it to the hand. Another +cause lies in a fault no less grave than the first. Since the hand has +only five fingers while the scale numbers many notes (according to its +length), the player must replenish his fingers by passing the thumb +under the hand so as to form a conjunction between the notes played and +those to be played. This passing of the thumb conditions a change or +shifting of the hand toward the keys to follow, but the shifting of the +hand must not coincide with the passing of the thumb or the result will +be a jerk. The position of the hand in relation to the keyboard must not +change. It must remain the same until the thumb has struck its new key. +Not until then must the shifting of the hand take place. In this way the +jumpiness or jerkiness of the scale can be avoided, provided one can +follow this precept punctiliously--which is not an easy matter, +especially in great speed. Alas, why are those pesky scales so +difficult, in fact, the most difficult thing to do on the piano? + +[Sidenote: _How to Hold the Thumb_] + +What is the correct position for the thumb? Should it be curved well +under the hand while playing? + +In scale-playing the thumb should be slightly curved and kept near the +index finger in order to be ready when needed. In pieces this position +of the thumb cannot, of course, always be observed. + +[Sidenote: _Which Fingers Demand Most Attention?_] + +Should one pay special attention to the training of the thumb? + +It may be said that the thumb and the middle finger are the two +arch-conspirators against a precise finger technique. They crave your +greatest attention. Above all, you must see to it that, in touching the +keys with these fingers, you do not move the whole hand, still less the +arm. + + +9. THE OTHER FINGERS + +[Sidenote: _The Fourth and Fifth Fingers_] + +What exercise would you recommend for the training of the fourth and the +fifth fingers? + +Any collection of Etudes is sure to contain some that are devoted to +the training of those two fingers. In the Cramer Etudes (Bulow's +selection) you will find Nos. 9, 10, 11, 14, 19, 20 adapted to your +case, but do not pin your faith to the print! In all matters of art the +"how" is of far more consequence than the "what." Play what you will, +but bear your weak points in mind while you play. This is the real +remedy. Keep hand and arm as loose as you can while training the fourth +and fifth fingers. + +[Sidenote: _The Action of the Little Finger_] + +In making wide skips in which the little finger strikes a single note, +as, for instance, in left-hand waltz accompaniments, should one strike +on the end of the little finger or on its side; and should the finger be +curved or held more or less flat? + +The little finger should never strike with its side. It should always be +held in its normally curved condition, and straighten at the stroke only +on such occasions when its own force proves insufficient and requires +the assistance of the wrist and arm muscles. + + +10. WEAK FINGERS, ETC. + +[Sidenote: _To Strengthen the Weak Finger Use It_] + +How can I strengthen the little finger of my right hand? I avoid it in +playing, using the next finger instead. + +By employing your little finger as much as possible and at once quitting +the habit of substituting another finger for it. + +[Sidenote: _The Weak Fingers of the Left Hand_] + +What exercise would you recommend for the training of the fourth and +fifth fingers of the left hand? + +Slow trill with various touches, with highly lifted fingers producing +strength through their fall and with a lesser lift of the fingers +combined with pressure touch, watching closely that the little finger +strikes with the tip and not with the side. Rhythmic evenness should +also be punctiliously observed. + +[Sidenote: _When the Fingers Seem Weak_] + +What kind of technical work would you advise me to take to make my +fingers strong in the shortest time consistent with good work? + +If your fingers are unusually weak it may be assumed that your muscular +constitution in general is not strong. The training of the fingers +alone will, in that case, lead to no decisive results. You will have to +strive for a general strengthening of your muscular fibre. At this +point, however, begins the province of your physician and mine ends. If +you consider your constitution normal, four or five hours' daily work at +the piano will develop the necessary digital force, if that time is +judiciously used. + +[Sidenote: _No Necessity to Watch the Fingers_] + +Is it always necessary to watch the fingers with the eye? + +In places where the fingers slide, and do not jump from one note to +another at a distance, there is no need of keeping the eye on them. + +[Sidenote: _Biting the Finger-Nails Spoils the Touch_] + +Is biting the finger-nails injurious to the piano touch? + +Certainly; biting the nails or any other injury to the finger-tips and +hand will spoil your touch. Extreme cleanliness and care in cutting the +nails the proper length are necessary to keep your hands in condition +for playing the piano. + +[Sidenote: _To Prevent Sore Finger-Tips After Playing_] + +How can I prevent my finger-tips, after prolonged playing, from feeling +sore the next day? + +Experience teaches that in such cases, as in many others, cleanliness is +the best remedy. After playing wash your fingers at once in warm water, +with soap and brush, and then rub them well with either cold cream or +some similar fatty substance. In the development of speed on the piano, +the rigidity of the skin on the fingers is a great hindrance; it makes +us feel as if we played with gloves on the fingers. + +[Sidenote: _Broad-Tipped Fingers Not a Disadvantage_] + +Are broad-tipped fingers considered a detriment to a man student of +piano; for instance, if the finger grazes the black keys on each side +when playing between them? + +Unless broad-tipped fingers are of an unusual thickness I do not +consider them an obstacle in the way of good piano-playing; the less so, +as the white keys--whatever shape the fingers may have--should never be +struck between the black ones, but only in the midst of the open space. +Altogether, I hold that the shape of the hand is of far greater +importance to the pianist than the shape of his fingers; for it +furnishes the fingers with a base of operations and with a source of +strength, besides holding the entire control over them. Studying the +hands and fingers of celebrated pianists you will find a great variety +of finger shapes, while their hands are usually broad and muscular. + +[Sidenote: _What to do With the Unemployed Hand_] + +When playing a piece in which a rest of a measure and a half or two +measures occurs should I drop my hand in my lap or keep it on the +keyboard? + +If the temporarily unemployed hand is tired it will rest better in the +lap, because this position favours the blood circulation, which, in its +turn, tends to renew the strength. I should, however, not put it away +from the keyboard too often, for this might easily be taken for a +mannerism. + + +11. STACCATO + +[Sidenote: _Wrist Staccato at a High Tempo_] + +What can I do to enable me to play wrist staccato very fast without +fatiguing the arm? + +Change your wrist staccato for a little while to a finger or arm +staccato, thus giving the wrist muscles a chance to rest and regain +their strength. + +[Sidenote: _The Difference Between "Finger Staccato" and Other Kinds_] + +What does "finger staccato" mean? Is not staccato always done with the +fingers? + +By no means! There is a well-defined arm staccato, a wrist staccato, and +a finger staccato. The latter is produced by a touch similar to the +rapid repetition touch--that is, by not allowing the fingers to fall +perpendicularly upon the keys, but rather let them make a motion as if +you were wiping a spot off the keys with the finger-tips, without the +use of the arm, and rapidly pulling them toward the inner hand. The arm +should take no part in it whatever. + + +12. LEGATO + +[Sidenote: _The Advantage of Legato Over Staccato_] + +Is it better for me to practise more staccato or more legato? + +Give the preference to legato, for it produces the genuine piano tone, +and it develops the technique of the fingers; while the staccato touch +always tends to draw the arm into action. If you play from the arm you +cannot expect any benefit for the fingers. For the acquisition of a +legitimate legato Chopin's works cannot be highly enough recommended, +even in the transcriptions by Godowsky, which become impossible when +tried with any touch other than legato. He wrote them, so to speak, out +of his own hand, and his legato is so perfect that it may well be taken +as a model by anybody. + +[Sidenote: _To Produce Good Legato_] + +Should you advise me to make use of a high finger-stroke? My teacher +makes me use it exclusively, but I notice that my playing is neither +legato nor quiet. It is almost humpy. + +Your manner of putting the question expressed your own--and +correct--judgment in the matter. This playing "in the air" is lost +energy, and will not lead to a good legato. The most beautiful tone in +legato style is ever produced by a "clinging and singing" gliding of the +fingers over the keys. Of course, you have to watch your touch in order +that your "clinging" does not deteriorate into "blurring," and that your +"gliding" may not turn into "smearing." If you apprehend any such +calamity you must for a while increase the raising of your fingers and +use more force in their falling upon the keys. Under constant +self-observation and keen listening you may, after a while, return to +the gliding manner. This much in general; of course, there are places +and passages where just the opposite of my advice could be said, but +still I think that the high finger-stroke should rather be employed for +some special characteristic effects than as a general principle. + +[Sidenote: _The Firm and Crisp Legato Touch_] + +I am confused by the terms "firm legato touch" and "crisp legato touch." +Wherein lies the difference? + +Legato means "bound together," for which we substitute the word +"connected." Two tones are either connected or they are not connected. +The idea of various kinds of legato is purely a sophism, a product of +non-musical hyper-analysis. By "legato" I understand the connecting of +tones with each other through the agency of the fingers (on the piano). +The finger that evoked a tone should not leave its key until the tone +generated by the next finger has been perceived by the ear. This rule +governs the playing of melodies and slow passages. In rapid passages, +where the control through the ear is lessened, the legato is produced by +more strictly mechanical means, but there should, nevertheless, always +be two fingers simultaneously occupied. Do not take the over-smart +differentiations of legato seriously. There is no plural to the word +"legato." + + +13. PRECISION + +[Sidenote: _Not Playing the Two Hands at Once_] + +My teachers have always scolded me for playing my left hand a little +before my right. It is probably a very bad habit, but I do not hear it +when I do it How can I cure it? + +This "limping," as it is called, is the worst habit you can have in +piano playing, and you are fortunate in having a teacher who persists in +his efforts to combat it. There is only one way to rid yourself of this +habit, namely, by constant attention and closest, keenest listening to +your own playing. You are probably misstating it when you say that you +do not "hear" it when you "limp"; it seems more likely to me that you +do not listen. Hearing is a purely physical function which you cannot +prevent while awake, while listening is an act of your will-power--it +means to give direction to your hearing. + + +14. PIANO TOUCH _vs._ ORGAN TOUCH + +[Sidenote: _How Organ-Playing Affects the Pianist_] + +Is alternate organ and piano playing detrimental to the "pianistic +touch"? + +Inasmuch as the force of touch and its various gradations are entirely +irrelevant on the organ, the pianist who plays much on the organ is more +than liable to lose the delicacy of feeling for tone-production through +the fingers, and this must, naturally, lessen his power of expression. + +[Sidenote: _Organ-Playing and the Piano Touch_] + +Is it true that a child beginning music lessons on an organ gets much +better tone than one beginning on a piano, and does the side study of +pipe-organ, after two years of extensive piano work, impair the piano +touch? + +It is only natural that a child can get better tone out of an organ than +on a piano, because it is not the child but the organ that produces the +tone. If the child's purpose, however, is to learn piano-playing it +would not be wise to let him begin on an organ, because this would leave +the essential element--the art of touch--entirely undeveloped. And if +his piano touch has been formed it can easily be undone again by letting +him play on the organ. + + +15. FINGERING + +[Sidenote: _The Universal System of Marking Fingering_] + +In what respect does American fingering differ from foreign fingering, +and which offers the greater advantages? + +There is no "American" fingering. Many years ago the "English" fingering +(which counts only four fingers and a thumb, and indicates the latter by +a plus mark: +) was adopted by a few of the less prominent publishers in +America; but it was soon abandoned. If you have a piece of sheet music +with English fingering you may be certain that it is not of a recent +edition, and I would advise you to obtain a more modern one. The +advantage of the universal fingering lies in its greater simplicity, and +in the circumstance that it is universally adopted. + +[Sidenote: _The C-Scale Fingering for All Scales?_] + +Do you advise the use of the C-scale fingering for all the scales? Is it +practicable? + +The C-scale fingering is not applicable to scales reposing on black keys +because it creates unnecessary difficulties, the mastering of which +would be a matter rather of mere sport than of art. + +[Sidenote: _Fingering the Chromatic Scale_] + +Which fingering of the chromatic scale the is most conducive to speed +and accuracy? + +The right thumb always upon E and B, the left one upon F and C. Between +times use three or four consecutive fingers as often as convenient. At +the beginning of a long chromatic scale select such fingers as will most +naturally bring you to one of the stations just mentioned. + +[Sidenote: _The Fingers Needed to Play a Mordent_] + +When executing the mordent, is not the use of three fingers preferable +to two? + +The selection of the fingers for the execution of a mordent depends +always upon the preceding notes or keys which lead up to it. Since +we cannot lift the hand just before a mordent for the purpose of +changing fingers (for this would mean a rude interruption) we have +to use whatever fingers happen to be "on hand." An exchange of +fingers in a mordent is seldom of any advantage, for it hampers +precision and evenness, since, after all, each finger has its own +tone-characteristics. + + +16. THE GLISSANDO + +[Sidenote: _To Play a Glissando Passage_] + +Will you describe the best method of holding the hand when playing +glissando? Which is preferable to use, the thumb or the forefinger? + +In playing glissando in the right hand use the index finger when going +upward, the thumb when going downward. In the left hand--where it hardly +ever occurs--use the middle finger in either direction, or, if you +should find it easier, the index finger downward. The production of so +great a volume of tone, as is possible on our modern piano, has +necessitated a deeper fall of the keys than former pianos possessed, and +this deeper dip has banished the glissando almost entirely from modern +piano literature. + + +17. OCTAVES + +[Sidenote: _How Best to Play the Octaves_] + +Should I play octaves using the "hinge" stroke from the wrist or by +using the arm? I find I can get more tone by using the arm stroke, but +cannot play so rapidly. + +The character of the octaves must govern the selection of means to +produce them. For light octaves use the wrist, for heavier ones draw +more upon the arm. Rapidity requires that you avoid fatigue. If you feel +fatigue approaching from too constant use of one joint, change to the +other, and in doing this change also the position of the hand from high +to low, and _vice versa_. For wrist octaves I recommend the low position +of the hand, for arm octaves the high one. + +[Sidenote: _Rapid Octaves_] + +Please suggest some method of playing octaves rapidly to one who finds +this the most difficult part of piano-playing. Would be grateful also +for naming some octave etudes that could be used in the repertoire. + +If rapid octaves seem to be "the most difficult part of piano-playing" +to you, take it as an indication that they do not suit your nature. A +"method" will never change your nature. This need not discourage you, +however; it is only to prevent you from trying to make a specialty of +something for which you are not especially qualified and to save you a +needless disappointment. Hold arms and hands in but a slight tension, +and at the slightest fatigue change the position of the hand from high +to low and _vice versa_. Your seat at the piano should not be too low. +Study the first book of Kullak's Octave School, and, later on, the +second book. + +[Sidenote: _When Playing Octaves_] + +When should I use the arm to play octaves as I have seen some concert +players do? As I was watching them there did not seem to be the +slightest motion from the wrist. + +Most concert players play their octaves more from the arm than from the +wrist, but their wrist is nevertheless not so inactive as it seems to +have appeared to you. They have probably distributed the work over the +wrist, the elbow, and the shoulder in such a way that each had to do +only a part of it. Light octaves can come only from the wrist, while +heavier ones put the elbow and shoulder into action. To make this +distribution consciously is hardly possible. A striving for economy of +force and the least possible fatigue will produce this "division of +labour" unconsciously. + +[Sidenote: _Wrist Stroke in Long Octave Passages_] + +When playing extended octave passages, such as the Liszt arrangement of +"The Erlking," should the endeavour be to play all from the pure wrist +stroke; or is it well to relieve the strain by an occasional impulse (a +sort of vibration) from the forearm? Is there any advantage in varying +the height of the wrist? + +In extended octave playing it is well to vary the position of the wrist, +now high and then low. The low position brings the forearm into action, +while the whole arm cooperates when the wrist is held high. From the +wrist alone such pieces as "The Erlking" cannot be played, because the +wrist alone gives us neither the power nor the speed that such pieces +require. Besides, the octaves, when all played from the wrist, would +sound "cottony." The wrist alone is to be used only in light, graceful +places. + +[Sidenote: _Stiff Wrists in Playing Octaves_] + +In playing octaves or other double notes my wrist seems to stiffen. How +can I remedy this? + +Stiffness in the wrist results from an unmindful use of it. When +practising octaves or double notes think always of holding the arm and +its joints in a loose, limber condition, and when you feel fatigued do +not fail to stop until the muscular contraction is relieved. In a little +while you will see your conscientious practising rewarded by acquiring +an elasticity commensurate with your general physical status. + +[Sidenote: _Premature Fatigue in the Arms_] + +Why does it tire my arms when I play octaves and a continuation of +little runs? How can I avoid it, so that they will feel free and easy? + +Premature fatigue is usually caused by undue muscular contraction. Keep +your arms and wrists loose and you will find that the fatigue +disappears. For your sensation of fatigue may be due, not to exhaustion +of muscular power, but to a stoppage of circulation caused by an +unconscious stiffening of the wrist. Change the position of the wrist +from high to low and _vice versa_ whenever you feel the "fatigue" +coming on. + +[Sidenote: _Kullak's "Method of Octaves" Still Good_] + +Is Kullak's "Method of Octaves" still one of the best in its line? or +can you recommend something better? + +Since the days when Kullak's "School of Octaves" was printed, experience +has taught us some things which might be added to it, but nothing that +would contradict it. Nor, so far as I know, has anything better appeared +in print than the first volume of that work especially. + + +18. REPETITION TECHNIQUE + +[Sidenote: _The Difficulty of Playing Repetition Notes_] + +Please help me about my repetition notes. When I wish to play them +rapidly it seems that the key does not always produce a sound? Is it +because of my touch? + +First, examine the action of your piano. It occurs not infrequently that +the fingers do their work well, but fail in the results because of an +inert or lazy piano action. If, however, the fault does not lie in the +instrument, it must lie in a certain stiffness of the fingers. To +eliminate this you need, first of all, a loose wrist. Furthermore, you +should not, in repetition technique, let the fingers fall +perpendicularly upon the keys, but with a motion as if you were wiping +the keys with the finger-tips and then pull them quickly toward the palm +of the hand, bending every joint of them rapidly. + + +19. DOUBLE NOTES + +[Sidenote: _The Playing of Double Thirds_] + +Please tell me something about the general practice of thirds, both +diatonic and chromatic; also, about those in the first movement of the +Grieg Concerto. + +As the playing of passages in single notes requires a close single +legato, to do double thirds requires an equally close double legato. As +to the exact details of legato playing I may refer you to my book, +"Piano Playing," where you will find the matter discussed at length in +the chapter on "Touch and Technic." + + +THE INSTRUMENT + +[Sidenote: _The Kind of Piano Upon Which to Practise_] + +Is it irrelevant whether I practise upon a good or a bad piano? + +For practice you should never use any but the very best available +instrument. Far, rather, may the piano be bad when you play for people. +This will not hurt you nearly so much as will the constant and habitual +use of a piano with a mechanism in which every key demands a different +kind of touch, and which is possibly out of tune. Such conditions impair +the development of your musical ear as well as of your fingers. It +cannot be otherwise. As I said once before, learning means the acquiring +of habits: habits of thinking and of doing. With a bad instrument you +cannot develop any good qualities, even if you should possess them by +nature; much less can you acquire them. Hence, I recommend a good piano, +clean keyboard--for your aesthetic perceptions should be developed all +around--a correct seat and concentration of mind. But these +recommendations presuppose on the part of the student some talent and a +good teacher. + +[Sidenote: _Do Not Use a Piano Extreme in "Action"_] + +Is it not better for a student in the advanced stage of study, who is +preparing for concert work, to practise on a piano with a heavy action +in order to develop the finger and hand muscles, and to use an +instrument with a light action for obtaining an artistic finish to the +lighter passages occurring so often, for instance, in Chopin's music? + +All extremes are harmful in their effects upon study and practice. A too +heavy action stiffens and overtires the fingers, while too light an +action tends to impair your control. Try to obtain for your practice a +piano the action of which approximates as nearly as possible that of the +piano on which you have to play in the concert, in order to avoid +unpleasant surprises, such as premature fatigue or a running away of the +fingers. + +[Sidenote: _How Tight to Keep the Piano's Action_] + +Should I keep the action of my piano tight? + +Keep it tight enough to preserve the "feeling" of the keys under the +fingers, but to make it more so would endanger your finger action and it +may injure your hand. + +[Sidenote: _The Action of a Beginner's Piano_] + +Do you think it wise for a beginner to practise on a piano that has a +heavy action? + +That depends upon the age and physical development of the beginner. +"Heavy" and "light" action are not absolute but relative terms, which +comprise in their meaning the power of resistance in the player's hand. +The action should be so adjusted that the player can--even in the +softest touch--always feel the key under his finger. A too heavy action +leads necessarily to an employment of the shoulder muscles (which should +be reserved for brief, special uses) and may permanently injure the +hand. + +[Sidenote: _Playing On a Dumb Piano_] + +Are mechanical appliances, such as a dumb keyboard, of advantage to +the student of the piano? Should its use be restricted to a particular +stage in the course of study? + +Music is a language. Schumann said: "From the dumb we cannot learn to +talk!" The totally dumb or mute piano should, therefore, not be used, or +very little, if we aim at a "musical" technique--that is, a live, +multicoloured technique qualified to express musical thought and +feeling. Personally I have never used a dumb piano. + + +THE PEDALS + +[Sidenote: _A General Rule About the Pedal_] + +Should I use the pedal with each melody note? Should like a general +rule. + +The treading upon the pedal should always follow immediately after the +striking of the note for which it is intended, or else there will be +discords arising from the mingling of that note with the one preceding +it. This is the general rule. Exceptions there are, of course, but they +occur only in certain moments when a mingling of tones is purposed for +some special effect. + +[Sidenote: _The Use of the Pedal for Colouring_] + +What is the use of the damper pedal? + +Primarily it serves to prolong such tones as we cannot hold with the +fingers. But it is also one of the greatest means for colouring. The +employment of it should always be governed by the ear. + +[Sidenote: _How to Use the Pedal_] + +Please tell me how to use the pedal. I find that in some pieces there is +no mark under the measures to show me when it should be used. Is there +any rule which you can give me? + +Assuming that you have in mind the artistic use of the pedal, I regret +to say that there is no more a rule for this than for the mixing of +colours upon the palette of a painter who strives for some particular +shade or tint. He knows that blue and yellow make green, that red and +blue make purple; but those are ground colours which he can rarely use. +For the finer shades he has to experiment, to consult his eye and his +judgment. The relation between the pedal and the player's ear is exactly +similar to that of the palette and the painter's eye. Generally speaking +(from sad experience) it is far more important to know when _not_ to use +the pedal than when to use it. We must refrain from its use whenever +there is the slightest danger of unintentional mingling of tones. This +is best avoided by taking the pedal _after_ striking the tone upon which +it is to act, and to release it promptly and simultaneously with the +striking of the next tone. It may be at once taken again, and this +alternation must be kept up where there is either a change of harmony or +a succession of "passing notes." This is the only positive rule I can +give, but even this is often violated. Let your ear be the guardian of +your right foot. Accustom your ear to harmonic and melodic clarity, +and--listen closely. To teach the use of the pedal independent of the +action of your own ear is impossible. + +[Sidenote: _Let Your Ear Guide Your Pedalling_] + +In Weber's "Storm" should the pedal be held down throughout the entire +piece, as directed? It produces quite a discord. + +Without knowing this piece, even by name, I may say that the pianos of +Weber's time had a tone of such short duration and volume that the +discords resulting from a continuous use of the pedal were not so +noticeable, as they are now upon the modern piano with its magnificent +volume and duration of tone. Hence, the pedal must now be used with the +utmost caution. Generally speaking, I say--again--that the ear is the +"sole" guide of the foot upon the pedal. + +[Sidenote: _Use Pedal With Caution in Playing Bach_] + +Is Bach's music ever played with the pedal? + +There is no piano-music that forbids in playing the use of the pedal. +Even where the texture of a piece does not require the pedal--which +happens very rarely--the player might employ it as an aid where the +reach of his hand proves insufficient to hold all the parts of a harmony +together. With Bach the pedal is often very important; for, by judicious +use--as, for instance, in the cases of organ-point--it accumulates +harmonic tones, holds the fundamental tone and thus produces effects not +dissimilar to the organ. Qualitatively speaking, the pedal is as +necessary in Bach's music as in any other; quantitatively, I recommend +the utmost caution in its use, so as not to blur the fine texture of his +polyphony. + +[Sidenote: _The Student with a Fondness for the Pedal_] + +I always want to use the pedal as soon as I take a new piece, but my +teacher insists that I should get a good singing tone first. Is she +right? + +You "want" to use the pedal? In the face of your teacher's advice to the +contrary? Then why did you apply for a teacher? People who consider +their own pleasure while engaged in any kind of study need no teacher. +They need discipline. Learn obedience! If by following your teacher's +advice you should fail to progress, even then you have no right to do +anything else than go to another teacher. But he will in all probability +not be very different from the first one in his precepts. Hence, I say +again: You should learn obedience! + +[Sidenote: _Using the Two Pedals at Once_] + +May the damper pedal and the soft pedal be used simultaneously, or would +this be detrimental to the piano? + +Since the mechanisms of the two pedals are entirely separate and +independent of each other you may use them simultaneously, provided that +the character of a particular place in your piece justifies it. + +[Sidenote: _To Produce a Softer Tone_] + +Should the expression "_p_" be executed by the aid of the soft pedal or +through the fingers? + +The soft pedal serves to change the quality of tone, not the quantity. +It should therefore never be used to hide a faulty _piano_ (or soft) +touch. Mere softness of tone should always be produced by a decrease of +finger-force and a lessening of the raising of the fingers. The soft +pedal should be employed only when the softness of tone is coupled with +a change of colouring, such as lies within its range of action. + +[Sidenote: _Do Not Over-Use the Soft Pedal_] + +Should the Gavotte in A, of Gluck-Brahms, be played without the soft +pedal? Does a liberal use of the soft pedal tend to make the student +lazy in using a light touch? + +Your first question is too general, as there is no piece of music that +should be played entirely with or without the soft pedal; it is used +only when a certain change of colouring is proposed. A too frequent use +of the soft pedal does tend to a neglect of the _pianissimo_ touch, and +it should, therefore, be discouraged. + +[Sidenote: _Once More the "Soft" Pedal_] + +My piano has a rather loud tone to which my people object, and urge me +to play with the soft pedal. I use it most of the time, but am afraid +now to play without it. What would you advise? + +If a soft touch and sound are liked, have the mechanism of your piano +changed at the factory. I found myself in the bad condition at one time +that I could not play certain passages independently of the position of +my foot on the soft pedal. Such is the strength of association that +very soon a constant use of the soft pedal produces physical inability +to play unless the foot is pressing the pedal. + + +PRACTICE + +[Sidenote: _The Morning Practice On the Piano_] + +In resuming my studies in the morning what should I play first? + +Begin with your technical work. Scales in all tonalities, each at least +twice well rendered. First slowly, one after another, then somewhat +quicker, but never very quickly as long as you are not absolutely sure +that both hands are perfectly even, and that neither false notes nor +wrong fingerings occur. To play the scales wrong is just as much a +matter of habit as to play them right--only easier. You can get very +firmly settled in the habit of striking a certain note wrong every time +it occurs unless you take the trouble of counteracting the formation of +such a habit. After these scales play them in octaves from the wrist, +slowly and without tiring it by lifting the hand to a needless height. +After this play either Czerny or Cramer, then Bach, and finally Mozart, +Beethoven, Chopin, and so on. If you have the time to do it, play one +hour in the morning on technical studies and use one hour for the +difficult places in the works you are studying. In the afternoon play +another hour, and this hour you devote to interpretation. I mean by this +that you should now apply aesthetically what you have technically gained +in the morning by uniting your mechanical advantages with the ideal +conception which you have formed in your mind of the work you are +studying. + +[Sidenote: _Morning Is the Best Time to Practise_] + +How much time should I spend on clearly technical study? I am practising +three hours a day; how long should I practise at a time? + +Purely technical work--that is, work of the fingers without the +participation of mind and heart--you should do little or none, for it +kills your musical spirit. If, as you say, you practise three hours a +day I should recommend two hours in succession in the morning and one +hour in the afternoon. The morning is always the best time for work. +Make no long pauses in your work, for they would break your contact +with the piano and it would take considerable time to reestablish it. In +the afternoon, after the major portion of your daily task is done, you +may move with greater freedom, though even this freedom should be kept +within proper bounds. + +[Sidenote: _Time to Devote to Technical Exercises_] + +Should I practise studies in general for my progress or should I confine +myself strictly to my technical exercises? + +Your strictly technical exercises should occupy one-quarter of the +entire time you can give to your work. Two quarters you should use for +the technical preparation of the difficult passages you encounter in the +pieces you are studying, and during the last quarter these passages +which have been thus prepared should be ranged into their proper places +in the pieces, in order that you may not lose your view of the totality +of the pieces while studying or practising details. + +[Sidenote: _The Only Kind of Practice Worth While_] + +In purely technical, _i. e._, mechanical, practice may I have a book or +a magazine on the music-stand and read? + +This question will appear grotesque to any one who has not thought of +it, yet it is legitimate; for I know positively that this crime upon +themselves has been committed by many. I cannot warn students too +strongly against this pernicious habit. It is far better to practise +only half as long, but with concentrated attention. Even purely +mechanical matter must be transmitted to the motor-centres of the brain +through the agencies of the ear and eye in order to bring beneficial +technical results. If the brain is otherwise occupied it becomes +insensible to the impression of the work in hand, and practise thus done +is a complete waste of time. Not only should we not read, but also not +think of anything else but the work before us, if we expect results. +Concentration is the first letter in the alphabet of success. + +[Sidenote: _Practising Eight Hours Instead of Four_] + +Will I advance quicker by practising eight hours instead of four, as I +do now? + +Playing too much in one day has often a deteriorating effect upon one's +studies, because work is profitable, after all, only if done with full +mental concentration, which can be sustained only for a certain length +of time. Some exhaust their power of concentration quicker than others; +but, however long it may have lasted, once it is exhausted all further +work is like unrolling a scroll which we have laboriously rolled up. +Practise self-examination, and if you notice that your interest is +waning--stop. Remember that in studying the matter of quantity is of +moment only when coupled with quality. Attention, concentration, +devotion, will make unnecessary any inquiries as to how much you ought +to practise. + +[Sidenote: _Playing With Cold Hands_] + +Shall I, when my hands are cold and stiff, play at once difficult and +fatiguing things in order to limber them up? + +In forcing things with cold hands you always run the danger of +overstraining, while with a gradual limbering you may safely try the +same tasks with impunity. Handle the piano lightly while the hands are +cold, and increase both force and speed only when the hands have gained +their normal temperature and elasticity. This may take half or even +three-quarters of an hour. It may be accelerated by putting the hands +in hot water before playing, but this should not be done too often, +because it is apt to weaken the nerves of the hands. + +[Sidenote: _Counting Out Loud_] + +Is counting aloud injurious to a pupil's playing--that is, does not the +sound of the voice confuse the pupil in getting the correct tone of the +note struck? + +Loud counting can hardly ever be injurious--especially not while the +pupil is dealing with time and rhythm. This part mastered or fully +understood, the audible counting may be lessened and finally abandoned. +During practice loud counting is of inestimable value, for it develops +and strengthens rhythmic feeling better than anything else will, and, +besides, it is an infallible guide to find the points of stress in a +phrase. + +[Sidenote: _The Study of Scales Is very Important_] + +Must all study of the piano absolutely begin with the study of scales? + +Scales should not be attempted until a good finger-touch has been formed +and the very important action of the thumb in the scale has been fully +prepared. After that, however, I consider the practising of scales +important, not only for the fingers, but also for the discipline of the +ear with regard to the feeling of tonality (key), understanding of +intervals, and the comprehension of the total compass of the piano. + +[Sidenote: _The Study of the Scales_] + +Do you approve of the study of all the fifteen major scales by piano +students, or is the practice of the enharmonic ones unnecessary? + +One should learn everything in that line in order to select from one's +store of learning that which the occasion calls for. Study or practise +all scales as they are written, and later also in thirds, sixths, and +octaves. + +[Sidenote: _When Reading Over a New Piece_] + +When studying a new composition, which is preferable: to practise first +with separate hands or together? + +When first looking over a new composition both hands should be employed, +if possible, for this is necessary to obtain, approximately, at least, a +mental picture of it. If the player's technique is too insufficient for +this the deciphering must, of course, be done for each hand separately. + +[Sidenote: _Practising the Two Parts Separately_] + +When I am learning a new piece should the hands practise their parts +separately? + +Provided you have formed a general idea of the piece, it is well to +practise the hands separately, because you can, in this way, concentrate +your attention upon the work of each hand. As soon, however, as each +hand knows its work the hands should play together in order now to +pursue the musical purpose for which the separate practice was only a +technical preparation. + +[Sidenote: _Four Ways to Study a Piano Piece_] + +Should a composition be studied away from the piano? + +There are four ways to study a composition: + +1. On the piano with the music. + +2. Away from the piano with the music. + +3. On the piano without the music. + +4. Away from the piano without the music. + +2 and 4 are mentally the most taxing and fatiguing ways, no doubt; but +they also serve best to develop the memory and what we mean by "scope," +which is a faculty of great importance. + +[Sidenote: _The Conditions Which Dictate Speed in Playing_] + +How fast or slow should Schubert-Liszt's "_Auf dem Wasser zu singen_" be +played? What modern parlour pieces would you recommend after Bendel's +"Zephyr"? + +Even if I did believe in metronomes, as I do not, I could not indicate +speed for you or for anybody, because it will always depend upon the +state of your technique and the quality of your tone. For modern parlour +pieces I suggest the two volumes of Russian piano music published by G. +Schirmer, New York. You will find pieces of various degrees of +difficulty there from which you may select what suits you best. + +[Sidenote: _To Work Up a Fast Tempo_] + +Which is the best way to work up a fast tempo? + +The best help is to hear the piece or part which you have in mind played +quickly by another person, for this aids you in forming the mental +concept of it, which is the principal condition to which all ability is +subject. There are, however, other ways which each one of us must find +for himself: either by a gradual increase of speed until you reach your +individual maximum or by starting at once at full tilt, even though some +notes should drop under the piano and then be picked up in subsequent +repetitions. Which of these two or any other ways is best for you no one +can tell; your musical instinct will guide you if you follow it +cautiously. + +[Sidenote: _The Best Way to Work Up a Quick Tempo_] + +Is it ever a waste of time to practise a piece over and over again for +months as slowly as a beginner and with utmost concentration? After +having done so and gradually working up a tempo, I then find I cannot +play so fast as I want to. Is it not wise to begin all over again as +slowly as possible? I prefer to work this way, but have been told that +one gets "stale," studying the same music for a long time. + +Do you advise practising with or without the pedal? + +Slow practice is undoubtedly the basis for quick playing; but quick +playing is not an immediate result of slow practice. Quick playing must +be tried from time to time, with increasing frequency and heightened +speed, even at a temporary loss of clearness. This loss is easily +regained by subsequent returns to slow practice. After all, we must +first learn to think quickly through the course of a piece before we can +play it quickly, and this mental endeavour, too, will be greatly aided +by occasional trials in a quicker tempo. As for getting "stale," a +variety of pieces is necessary to preserve the freshness of each one. + +Regarding the pedal, I suggest that you use it judiciously from the very +beginning of the study of a new piece; though never in finger exercises. + +[Sidenote: _Watch Your Breathing_] + +What is the purpose of associating breathing with piano playing, and to +what extent should it be practised? + +Breathing is as important in piano playing as in all physical exertion, +and more so when we speak of pieces that entail the use of great +muscular force; for this causes a quickening in the action of the heart; +respiration naturally keeps step with it, and the result is often a +forcible breathing through the mouth. Players resort to open-mouth +breathing in such cases because they cannot help themselves. If, at the +last spurt of a bicycle race, we should call to the wheelmen, "Breathe +through the nose!" we could not wonder if our advice remains unheeded. +This open-mouth breathing, however, need not be learned; it is the +self-help of nature. I recommend breathing through the nose as long as +possible. It is more wholesome than mouth-breathing, and it refreshes +the head more. When physical exertion becomes too great then you will +neither need nor heed my advice or anybody's; your nature will find its +own line of least resistance. + +[Sidenote: _Take a Month's Rest Every Year_] + +Must I keep up my practice during my Christmas holidays of a month? + +If you have worked well on your development during the spring, summer, +and autumn it will be to your advantage to stop your practising entirely +for a month. Such a pause renews your forces as well as the love for +your work, and you will, upon resuming it, not only catch up quickly +with what you may think to have missed, but you will also make a quick +leap forward because the quality of your work will be better than it +could be if you had persisted in it with a fatigued mind. In a tired +condition of mind and body we are very apt not to notice the formation +of bad habits, and since "to learn means to form correct habits of +thinking and doing" we must beware of anything that might impair our +watchfulness as to bad habits. The greatest persistence cannot turn a +bad habit into a virtue. + + +MARKS AND NOMENCLATURE + +[Sidenote: _The Metronome Markings_] + +What is the meaning of M. M. = 72 printed over a piece of music? + +The M stands for "metronome," the other for the name of its inventor, +Maelzl. The figures indicate the number of beats a minute and the note +shows what each beat represents--in this case a quarter note. The whole +annotation says that the average speed of the piece should admit of +seventy-two quarter notes being played in a minute. I advise you, +however, rather to consult the state of your technique and your own +feeling for what is musically right in deciding upon the speed of the +piece. + +[Sidenote: _The Personal Element and the Metronome_] + +In Chopin's Prelude No. 15 is the movement in C-sharp minor to be played +in the same tempo as the opening movements, or much faster? How should +the 6-8 and 9-8 movements of Liszt's Dance of the Gnomes be +metronomized? + +The C-sharp minor movement should not increase in speed, or only very +little, because it rises to a considerable height dynamically, and this +seems to counteract an increase of speed. As to the metronoming, I would +not bother about it. The possibilities of your technique must ever +regulate the speed question in a large degree. Tempo is so intimately +related with touch and dynamics that it is in a large measure an +individual matter. This does not mean that one may play andante where an +allegro is prescribed, but that one person's allegro differs slightly +from that of another person. Touch, tone, and conception influence the +tempo. The metronome indications are to be accepted only with the +utmost caution. + +[Sidenote: _Metronome Markings May Better Be Ignored_] + +How fast, by metronome, should the minuetto of Beethoven's Sonatina, +opus 49, Number 2, be played? + +If you possess an edition of Beethoven that has no metronome marks you +have been singularly fortunate, and I would not for the world interfere +with such rare good luck. Consult your technique, your feelings, and +have confidence in your good sense. + +[Sidenote: _There are Dangers in Using a Metronome_] + +How should one use the metronome for practising? I have been warned +against it, as my teacher tells me one is liable to become very stiff +and mechanical by the persistent use of it. + +Your teacher is eminently right. You should not play with the metronome +for any length of time, for it lames the musical pulse and kills the +vital expression in your playing. The metronome may well be used as a +controlling device first, to find the approximate average speed of a +piece, and, second, to convince yourself that, after playing for a +while without it, your feelings have not caused you to drift too far +away from the average tempo. + +[Sidenote: _The Real Meaning of Speed Terms_] + +What is the meaning of the words Adagio, Andante, and Allegro? Are they +just indications of speed? + +They serve as such; though our musical ancestors probably selected these +terms because of their indefiniteness, which leaves a certain margin to +our individuality. Literally, Adagio (_ad agio_) means "at leisure." +Andante means "going" in contradistinction to "running," going apace, +also walking. Allegro (a contraction of _al leg-gie-ro_) means with +"lightness, cheerful." Primarily these terms are, as you see, +indications of mood; but they have come to be regarded as speed +annotations. + +[Sidenote: _A Rule For Selecting the Speed_] + +As the words "largo," "allegro," etc., are supposed to indicate a +certain rate of speed, can you give a rule so that a student who cannot +have the aid of a teacher will be able to understand in what time he +should play a composition? + +If the metronome is not indicated you have to consult your own good +taste. Take the most rapid notes of your piece, play them rapidly as the +general trend of the piece will aesthetically permit, and adjust the +general tempo accordingly. + +[Sidenote: _How Grace Notes Are Played_] + +How are the grace notes played in these measures from Chopin's Valse, +opus 42, and when are grace notes not struck simultaneously with the +base? + +[Illustration] + +Grace notes and their chiefs--that is, those notes to which the grace +notes are attached--should ever be played with one and the same muscular +impulse. The time occupied by the grace notes should be so minimal that +it should not be discernible whether they appear simultaneously with the +base note or slightly before it. In modern music it is usually meant to +precede the bass note, though the good taste of the player may +occasionally prefer it otherwise. + +[Sidenote: _Rests Used Under or Over Notes_] + +What is the meaning of a rest above or below the notes of the treble +clef? + +The rests you speak of can occur only when more than one voice (or part) +is written in the same staff, and they indicate how long the entrance of +the other voice is to be delayed. + +[Sidenote: _What a Double Dot Means_] + +What does it mean when a note is double-dotted, like: + +[Illustration] + +I thought first it was a misprint, but it seems to occur too frequently +for that. + +As the first dot prolongs the note by one-half of its own value, so does +the second dot add one-half of the value of the first dot. A half-note +with one dot lasts three-quarters, with two dots it lasts seven-eighths. + +[Sidenote: _The Playing of Slurred Notes_] + +Should I accent the first note under a slur thus: + +[Illustration] + +or should I lift my hand at the end of the slur thus: + +[Illustration] + +Slurs and accents have nothing to do with each other, because accents +relate to rhythm, while slurs concern the touch. The last note under a +slur will usually be slightly curtailed in order to create that small +pause which separates one phrase from another. Generally speaking, the +slur in piano music represents the breathing periods of the vocalist. + +[Sidenote: _How a Tie and a Slur Differ_] + +What difference is there between a slur and a tie? + +None in appearance, but much in effect. A tie continues the sound of the +note struck at its beginning as long as the note-value at its end +indicates. It can be placed only upon two notes of similar name in the +same octave which follow each other. As soon as another note intervenes +the tie becomes a slur and indicates a _legato_ touch. + +[Sidenote: _Slurs and Accents Not Related_] + +How should the beginning of slurs be accented? + +Slurs and accents have nothing to do with each other. Slurs indicate +either a legato touch or the grouping of the notes. Which one of the +notes thus grouped is to be accented depends upon its rhythmical +position in the measure. The strong and weak beat (or positive and +negative beat) govern the accent always, unless there is an annotation +to the contrary, and such an annotation must be carried out with great +judiciousness, seldom literally. + +[Sidenote: _How Long an Accidental Affects a Note_] + +Where there is an accidental on the last beat of a measure does not that +note resume its signature beyond the bar unless tied? The case I speak +of was in a key of two flats, common time. The fourth beat, E, was +naturalized and the first note of the next measure was E with the flat +sign. I maintain that the flat sign is superfluous, and I should like to +know if this is right? + +You are quite right, theoretically. Nevertheless, the proper tonality +signature of a note that was changed is very frequently restated when +the same note recurs beyond the bar. Though this special marking is not +necessary theoretically, practical experience has shown that it is not +an unwise precaution. + +[Sidenote: _"E-Sharp and B-Sharp" and the Double Flat_] + +What is the meaning of the sharps on the E and B line, and of a +double-flat? Are they merely theoretical? + +They are not theoretical, but orthographical. You confound the note C +with the key on the keyboard by that name. B-sharp is played upon the +key called C, but its musical bearing is very remote from the note C. +The same applies to double-flats (and double-sharps), for D with a +double-flat is played upon the key called C, but it has no relation to +the note C. This corresponds precisely with the homonym in language: +"sow"--"sew"--"so"--sound alike, but are spelled in various ways +according to the meaning they are to convey. + +[Sidenote: _The Effect of Double Flats_] + +How is an octave, written thus, to be played? + +[Illustration] + +As the single-flat lowers a note by a half-tone, so a double-flat lowers +it by two half-tones or a full tone. + +[Sidenote: _Double Sharp Misprinted for Double Flat_] + +[Illustration] + +In playing an operetta recently I found the double-sharp sign used for +double-flats as well. Is this correct? + +The sign may be a misprint. But if it should occur repeatedly I advise +you to make quite sure, before taking the misprint for granted, that the +sign is not, after all, meant for a double-sharp. + +[Sidenote: _When an Accidental Is in Parentheses_] + +[Illustration] + +Please tell me how a chord or an interval marked thus, is executed. What +does an accidental in parentheses mean? + +Chords marked as above are slightly rolled in the same manner as if +marked by a serpentine line, unless the sign denotes a linking with the +other hand. Which of the two meanings is intended you will easily infer +from the context. Accidentals in parentheses are mere warnings given by +some composers wherever there is a possibility of doubt as to the +correct reading caused by a momentary harmonic ambiguity. I have found +these accidentals in parentheses so far only in the works of French +composers. + +[Sidenote: _The Staffs Are Independent of Each Other_] + +Does an accidental in the right hand influence the left? + +Inasmuch as piano music is written in score form, the two staffs are as +independent of each other as are the staffs in an orchestral score. We +may, in cases of suspected misprints, draw certain inferences from one +staff to the other, provided that they are justified by the prevailing +harmony. As a rule, the two staffs are independent of each other in +regard to accidental chromatic signs. + +[Sidenote: _Why Two Names for the "Same" Key?_] + +I am often asked why there must be fifteen keys in music instead of +twelve--that is, why not always write in B instead of C-flat, in F-sharp +instead of G-flat, in D-flat instead of C-sharp, or _vice versa_? I can +only say that the circle of fifths would not be complete without the +seven scales in sharps and the seven in flats: but Bach does not use all +the fifteen keys in his Forty-eight Preludes and Fugues, omitting +entirely, in the major keys, G-flat, D-flat, and C-flat, and, in the +minor keys, A-sharp and A-flat. Are compositions in sharps considered +more brilliant than those in flats? Do composers consider modulation in +selecting their key? + +The answer to your question hinges upon whether you recognize in music +mere tone-play or whether you concede a mental and psychic side to it. +In the former case the mode of spelling a tone C-sharp or D-flat would +be, indeed, irrelevant. But in the latter case you must admit the +necessity of a musical orthography qualified to convey distinct tonal +meanings and musical thoughts to the reader and to the player. Though +there is in the tempered scale no difference between C-sharp and D-flat, +the musical reader will conceive them as different from one another, +partly because of their connection with other related harmonies. These +determine usually the composer's selection in cases of enharmonic +identities. In the script of human language you will find an analogy +than which none could be more perfect. In English there are, for +instance, "to," "too," and "two"; words in which the spelling alone, and +not the sound of pronunciation, conveys the different meanings of the +words. + +[Sidenote: _The Meaning and Use of "Motif"_] + +What is the meaning of a "motif"? What does a dash mean over a note? +What is the best book of instruction for a beginner, a child of ten? + +A motif is the germ of a theme. A theme may be composed of reiterations +of a motif, or by grouping several motifs together; it may also combine +both modes of procedure. The most glorious exemplification of +construction by reiteration of a motif you will find in the opening +theme of Beethoven's Fifth Symphony. A dash over a note enjoins the +player to hold that note with the finger until it has received its full +value. The best "instruction book" for a child is a good teacher who +uses no instruction book, but imparts his knowledge to the child from +out of his own inner consciousness. + +[Sidenote: _Tied Staccato Notes_] + +In playing notes written thus is it permissible to slide the fingers +from the keys or should there be only a clinging touch? + +[Illustration] + +Notes marked as above are to be played in such a manner that each note +is slightly separated from the next. The best touch for this is from the +arm, so that the fingers are not lifted from their joints, nor from the +wrist, but that the arm pulls the finger upward from the key. + +[Sidenote: _The "Tenuto" Dash and Its Effect_] + +What do short lines below or above a note or chord mean in +contradistinction to a staccato or an accent? And does it affect the +whole chord? + +The dash under or above a note is a substitute for the word "tenuto" +(usually abbreviated into "ten."), which means "held," or, in other +words, be particular about giving this note its full sound-duration. +This substitute is usually employed when the holding concerns a single +note or a single chord. + +[Sidenote: _A Rolled Chord Marked "Secco"_] + +How should I execute a chord that is written with a spread and also +marked "secco"?--as in Chaminade's "Air de Ballet, No. 1." + +Roll the chord as evenly as possible in all its parts; but use no pedal +and do not hold it, but play it briskly and short. + +[Sidenote: _Small Notes Under Large Ones_] + +What is the meaning of small notes printed under large ones? + +Usually the small notes are an indication that they may be omitted by +players who have not the stretch of hand necessary to play them. + +[Sidenote: _Accenting a Mordent in a Sonata_] + +How should one play and accent the mordent occurring in the +forty-seventh measure of the first movement--allegro di molto--of +Beethoven's Sonata Pathetique, Opus 13? + +The accent ought to lie upon the first note of the mordent, but you +should not make a triplet of it by occupying the whole quarter with its +execution. The mordent must be played fast enough to preserve the +rhythmic integrity of the melody-note. + +[Sidenote: _The Position of the Turn Over a Note_] + +[Illustration] + +The turn stands sometimes directly over the note and sometimes farther +to the right of it. Does this difference indicate different executions +and, if so, how would the two turns have to be played? + +The turn always begins with its uppermost note. When it stands directly +over a note it takes the place of this note; when more to the right the +note is struck first and the turn, judiciously distributed at the time +of its disposal, follows. + +[Sidenote: _How Are Syncopated Notes to be Played?_] + +How are syncopated notes to be played? + +Notes occurring an entire beat of the prescribed time are, when +syncopated, to be played between the beats. If the syncopated notes +occupy only a fraction of the beats they are played between the +fractional beats. + +[Sidenote: _A Trill Begins on the Melodic Note_] + +In modern compositions should all trills begin upon the note which is +written, presuming there is no appoggiatura before the note? Is the +alternation of the thumb and the second finger desirable in the playing +of a trill? + +Where not expressly otherwise stated (by appoggiatura) trills usually +begin upon the melodic tone (the note which is written). Change fingers +when those employed get tired. For extended trills the use of three +fingers is advantageous, while in shorter trills two fingers will +preserve more clarity. + +[Sidenote: _Position of Auxiliary Note in a Trill_] + +In the accompanying example of the trill should the auxiliary note be a +tone or a half-tone above the principal note? If the half-tone, what +would be the name of the auxiliary note? + +[Illustration] + +The episode you quote moves evidently in the tonality of G minor. The +trill stands on B-flat. As the auxiliary note of a trill is ever the +diatonic sequel of a stated note it must, in this case, be a whole tone +above B-flat, namely C. Since the piece is written in D major there +should have been a "natural" marked under the sign of the trill. + +[Sidenote: _Speed and Smoothness in Trilling_] + +Will you kindly suggest a good method of gaining speed and smoothness in +trilling? + +While there are no "methods" for trilling there are certain means by +which sluggish muscles may be assisted. Yet, even these means cannot be +suggested without knowing the seat and cause of your trouble. The causes +differ with the individual, but they are, in the majority of cases, +purely mental, not manual. To trill quickly we must think quickly; for +if we trill only with the fingers they will soon stick, lose their +rhythmic succession, and finish in a cramped condition. Hence, there is +no direct way to learn trilling; it will develop with your general +mental-musical advancement. The main thing is, of course, always to +listen to your own playing, actually and physically, to perceive every +tone you play; for only then can you form an estimate as to how quickly +you can "hear." And, of course, you do not expect to play anything more +quickly than your own ear can follow. + +[Sidenote: _Difference in Playing Trills_] + +What is the difference in the manner of playing the trill in measure 25, +and those in measures 37 and 38, of the Chopin Polonaise, Opus 53? + +The significance of the trill in measure 25 is melodic, while that of +the trills in measures 37 and 38 is purely rhythmic, somewhat in the +nature of a snare-drum effect. The first trill requires greater stress +on the melodic note, while in the other two you may throw your hand, so +to speak, on both notes and roll the trill until it lands upon the next +eighth-note. + +[Sidenote: _The Meaning of Solfeggio_] + +What is meant by "spelling" in music? + +Unless it means the variety of ways in which most chords can be written +it refers to an oral reciting of notes, properly called solfeggio. + + +ABOUT CERTAIN PIECES AND COMPOSERS + +[Sidenote: _Some Pieces for a Girl of Fourteen_] + +Please tell me some pieces of the classics which are not too difficult +for my daughter of fourteen to play. She has a great deal of talent but +not much technique. The Kuhlau Sonatinas she can play very well. + +If your daughter is fourteen years old and has--as you say--much talent +but little technique, it is high time to think of developing her +technique, for a pianist without technique is like a pleasure traveller +without money. At any rate, I should prefer the easier sonatas by Haydn +and Mozart to those of Kuhlau, because of their greater intrinsic merit. +Any good teacher will assist you in selecting them to fit your +daughter's case. + +[Sidenote: _In Playing a Sonata_] + +In playing sonatas my teacher tells me it is a great fault if I neglect +to observe the repeat marks. I have heard it said by others that the +repetition is not necessary, though it may be desirable. Will you please +give me your opinion? + +In a sonata it is of serious importance to repeat the first part +(exposition) of the first movement in order that the two principal +themes, as well as their tributaries, may well impress themselves upon +the mind and memory of your auditor. For, unless this is accomplished, +he cannot possibly understand and follow their development in the next +part. That the exposition part is not the only one to be repeated you +will find frequently indicated; for instance, in the last movement of +the "Appassionata," where the repetition is needful, not for the reason +stated before, but for the sake of formal balance or proportion. +Generally speaking, I am in favour of following the composer's +indications punctiliously, hence, also, his repeat marks, which serve +aesthetic purposes that you will perhaps not understand until later, when +the sonata has, in your hands, outgrown the stage of being learned. + +[Sidenote: _A Point in Playing the "Moonlight Sonata"_] + +Should not the notes of the triplet figure in Beethoven's "Moonlight +Sonata" be so blended into each other that you do not hear them in +separate notes, but as a background, so to speak, for the notes in the +melody? + +The truth lies midway between two extremes. While the accompaniment +should be sufficiently subdued to form, as you say, a harmonic +background, it ought, nevertheless, not to be blended to such a degree +as to obliterate entirely the undercurrent of a triplet motion. The +accumulation of each chord should be produced through the pedal, not +through an excessive legato touch. + +[Sidenote: _Playing the "Spring Song" too Fast_] + +Should Mendelssohn's "Spring Song" be played in slow or fast time? + +It is marked "Allegretto grazioso." The latter term (graceful, in +English) precludes a too-quick movement. + +[Sidenote: _What a Dot May Mean_] + +This is the seventh measure of Chopin's Polonaise, Opus 26, No. 1. What +is the meaning of the dot placed after the D in the bass? Whenever this +measure is repeated the dot occurs, or I should have thought it a +misprint. + +[Illustration] + +The left-hand notes follow each other as eighth-notes. Their respective +duration, however, is indicated by the upward stems and the dot. It is +intended here that a complete chord should be built up by accumulation, +as in illustration _a_: + +[Illustration] + +and I would also hold the fifth eighth as in illustration _b_. + +[Sidenote: _Where the Accent Should be Placed_] + +In playing Chopin's Impromptu in A-flat, Opus 29, should the first or +the last note of the mordent receive the accent? I have heard the +mordent sound like a triplet? Is this the correct accent? + +The last note of the mordent should be accented in this case. + +[Sidenote: _A Disputed Chopin Reading_] + +In Chopin's Nocturne in F-sharp, after the _Doppio_ Movement, when +returning to Tempo I, and counting five measures, should the right hand +in the fifth measure play this melody? + +[Illustration] + +The various editions differ from one another in this measure. Peters's +edition, generally considered the best edition of Chopin's works, has +the second version, which commends itself by its greater naturalness. + +[Sidenote: _Playing the "Melody in F"_] + +In Rubinstein's "Melody in F" should the melody be played in the left +hand or be divided between the two hands? + +Where there is no valid reason for doing otherwise it is always best to +follow the composer's prescription; for, in most cases--and with great +composers in all cases--the author knows what he meant to say. In the +aforesaid piece, too, I advise you to adhere to this principle, since it +is written with a view to teach the division of the melody between the +right and left hand. Any other execution would ruin this purposed +design. + +[Sidenote: _When Two Fingers Have the Same Note_] + +In Schumann's "Blumenstueck," third number, the uppermost notes of the +left hand are identical with the lowest of the right hand. Should the +thumbs of both hands strike the same keys at the same time all the way +through or should the left hand omit them? + +The left hand should omit them, but be careful to omit only those that +are really duplicates. There are a few places toward the end of each +section where the left-hand notes differ from those in the right. In +those cases you must be careful to play all the notes that are written. + + +BACH + +[Sidenote: _The Beginner in Bach Music_] + +Can you give me a few helpful suggestions in a preliminary study of +Bach? + +A totality consists of many parts. If you cannot master the totality of +a work by Bach try each part by itself. Take one part of the right hand, +one part of the left, add a third part, and so on until you have all the +parts together. But be sure to follow out the line of each separate part +(or "voice," as the Continentals say). Do not lose patience. Remember +that Rome was not built in a day. + +[Sidenote: _Bach's Music Necessary to Good Technique_] + +Do you think the study of Bach is necessary to the development of one's +technique, or should one let his music alone until a later day when +one's technique is in good condition? Some of his music seems so dry. + +Bach's music is not the only music that develops the technique. There +is, for instance, the music of Czerny and Clementi to be considered. But +Bach's music is particularly qualified to develop the fingers in +conjunction with musical expression and thematic characterization. You +may start with Czerny and Clementi, but you ought soon to turn to Bach. +That some of his music seems dry to you may be due to your mental +attitude by which you possibly expect from ecclesiastical music what +only the opera can give you. Think yourself into his style and you will +find a mine of never-dreamed-of enjoyment. + +[Sidenote: _Always Keep in Touch with Bach_] + +Do you think that the playing of Bach's works will keep one's hands in +good technical condition? And which is the best edition of Bach's piano +works? + +Bach is good for the soul as well as for the body, and I recommend that +you never lose touch with him. Which is the best edition would be hard +to say, but I have found the Peters edition to be very good. + +[Sidenote: _Bach's Preludes and Fugues_] + +What is the plan of a "Fugue," how does it differ from an "Invention" +and "Prelude," and what is the purpose of studying the pieces so named +by Bach? + +The explanation of the plan of a Fugue would exceed by far the limits of +the space at my disposal. It would require a text-book, of which there +are many to be found in every good music store. The Fugue is the most +legitimate representation of true polyphony. Its difference from an +Invention is expressed in the two names. A Fugue (_fuga_, flight) is the +flight of one musical thought through many voices or parts, subject to +strict rules, while an Invention is an accumulation of thoughts moving +with absolute freedom. The definition of Prelude, as something which +intentionally precedes and fittingly introduces a main action, fits the +musical Prelude perfectly; especially in the case of Bach. The purpose +of all these forms is that of all good music-making, namely, the +purification and development of good taste in music. + +[Sidenote: _As to the Bach Fugues_] + +Of the Bach fugues do you consider the C sharp major difficult to +memorize, or do you advise the use of the D flat arrangement instead? + +Such little differences have never bothered me, and I can therefore +hardly answer your question definitely. It has been frequently +observed--though never explained--that to many people it comes easier to +read music in D flat than in C sharp. Hence, if you prefer the D flat +edition it will reduce the difficulty for you. Possibly this more +accessible version may aid you optically or visually in your work of +memorizing. + + +BEETHOVEN + +[Sidenote: _Order of Studying Beethoven's Sonatas_] + +I am just beginning to reach an intelligent interpretation of +Beethoven's music. Now, in what order should the Sonatas be studied? + +If you should really have the laudable intention to study all the +Sonatas of Beethoven for your repertory I should think that you may +safely take them up very much in the order in which they are printed, +with the exception of Opus 53 and the Appassionata, which--spiritually +as well as technically--rank with the last five. The Steingraeber +edition, however, furnishes a very fair order of difficulty in the index +to the Sonatas. + +[Sidenote: _The Beethoven Sonata with a Pastoral Character_] + +My teacher calls the Sonata opus 28, by Beethoven, the "Pastoral" +Sonata. I have not found anything "pastoral" in any of the movements. Is +it because I do not understand it, or is the name a mere amateurish +invention? + +The name "Pastoral Sonata" could, no doubt, be traced to an arbitrary +invention, perhaps of some over-smart publisher endeavouring to heighten +the attractiveness of the Sonata to the general public by the addition +of a suggestive title. Yet it seems to fit the Sonata pretty well, +because, really, its main characteristic is a rural sort of peaceful +repose. Especially the first movement is of a tranquillity which, +surely, does not suggest the life of a metropolis. But in the other +movements, too, there are many episodes which by their naivete and +good-natured boisterousness indicate the life of the village. + +[Sidenote: _A Few, Well Played, Are Enough_] + +Must I play all the Sonatas of Beethoven's in order to become a good +player, or is a certain number of them sufficient, and, if so, how many +would you advise? + +Since the playing of all the Sonatas does not necessarily prove that +they were all well played, I think it is better to play one Sonata well +than to play many of them badly. Nor should Beethoven's Sonatas be +regarded as a musical drilling-ground, but rather as musical +revelations. As they are not all on precisely the same high plane of +thought, it is not necessary to play them all. To familiarize yourself +with Beethoven's style and grandeur of thought it is sufficient to have +mastered six or eight of his Sonatas; though that number, at least, +should be _mastered_. + + +MENDELSSOHN + +[Sidenote: _The Study of Mendelssohn_] + +In a complete course for a piano student should the study of Mendelssohn +be included? Which of his compositions are the most useful? + +Mendelssohn is surely a composer who is not to be omitted. His melody +alone, besides other virtues, entitles him to be included, for melody +seems to grow scarce nowadays. To develop a fine cantilena his "Songs +Without Words" of slower motion, for instance, are just the thing. + + +CHOPIN + +[Sidenote: _What Is the Best of Chopin?_] + +Which are the best compositions of Chopin to study by one who really +desires to know him? + +All the Etudes, all the Preludes, the Ballades in A flat, G minor and F +minor, the Berceuse and the Barcarolle. The Mazurkas, Nocturnes, +Waltzes, and Polonaises you are probably familiar with; hence, I mention +the aforesaid other works. Generally speaking, of Chopin a pianist +should know everything. + +[Sidenote: _The Charm of Chopin's Touch_] + +What kind of touch did Chopin have? + +Since a description of his touch would require too much space I refer +you to the book from which I gathered the most explicit information on +this point. It is "The Life of Chopin," by Frederick Niecks (London and +New York, Novello, Ewer & Co.), and in the second volume, from page 94 +to about 104, you will find what you wish to know, as far as it is +possible to convey the charm of one art through the medium of another. +Since you seem interested in Chopin I would recommend that you closely +study both volumes of this masterly biographical work. + +[Sidenote: _Mood and Tempo in the A-Flat Impromptu_] + +What is the tempo (by metronome) of Chopin's Impromptu in A-flat, and +what idea did the composer embody in it? + +The editions vary in their metronome markings and I believe none of +them. Your tempo will largely depend upon the state of your technique. +To the second question my reply is that Chopin has composed "music" +which--as you know--represents thoughts only in a musical sense, +otherwise it deals with purely psychic processes, moods, etc. The humour +of this Impromptu is mainly an amiable, ingratiating one, here and there +slightly tinged with a sweet melancholy. It should not be played too +fast, for it easily loses this latter attribute and then sounds like a +Czerny exercise. A moderate tempo will also tend to bring out the many +charming harmonic turns which, in too quick a tempo, are likely to be +lost. + +[Sidenote: _Chopin's Barcarolle_] + +In Chopin's Barcarolle there is a number of trills preceded by grace +notes. Are they to be executed according to Philipp Emmanuel Bach's +rule, so that the grace notes take their time from the note that follows +them? + +Philipp Emmanuel Bach's rule is a safe one to follow, but do not +confound a rule with a law. If you have reached that plane on which an +attempt at the Barcarolle by Chopin is rational, you must feel that your +individual taste will not lead you too far astray even if it should +prompt you occasionally to depart from the rule. + +[Sidenote: _Chopin's Works for a Popular Concert_] + +What works of Chopin would you suggest for a popular concert programme? + +Nocturne, Opus 27, No. 2; Fantasy Impromptu, Opus 66; Scherzo, Opus 31; +Berceuse, Opus 57; Valse, Opus 64, No. 2; Polonaise, Opus 26, No. 1; +Chants Polonais (in Liszt's transcription). + +[Sidenote: _Taking Liberties with the Tempo_] + +In playing Chopin may one take liberties with the tempo and play +different parts of the same mazurka or nocturne in various degrees of +tempo? + +Undoubtedly. But the extent of such liberties depends upon your aesthetic +training. In principle your question admits of an affirmative reply, but +a specific answer is impossible without an acquaintance with your +musical status. I recommend that you be very cautious about "taking +liberties"; without, however, ceasing altogether to follow the +promptings of your good taste here and there. There is such a thing as +"artistic conscience"; consult it always before taking a liberty with +the tempo. + +[Sidenote: _Omitting One Note in a Chord_] + +[Illustration] + +In the beginning of the Waltz in E minor by Chopin the left hand has to +play this chord a number of times. I can stretch any three of the four +notes, but not all four. Can one of them be omitted, and which one? + +You may omit the upper E, the second note from the top, but you may do +so only so long as it is physically impossible for you to strike all +the four notes. For, by omitting this note you do alter the tone colour +of the chord as well as its sonority. As soon as you have acquired the +requisite stretch--and anybody who does possess it--I would advise that +the note be not unnecessarily omitted. Chopin evidently meant to have +that note played. + +[Sidenote: _Masters Cannot be Studied in Order_] + +Will you give me your views as to the order in which the masters of +piano composition should be studied? + +To classify composers, without specifying their works, is never +advisable. Beethoven's first and last sonatas differ so fundamentally +from each other in every particular that one may play the first one very +well and yet be for many years (perhaps forever) unable to play the last +one. And still, it is the same Beethoven that wrote both works. We can, +therefore, hardly speak of an "order of composers." So long as we are +dealing with masters the question should not be: Which master?--but, +Which composition does your stage of mental and technical development +call for? If you will defer the study of any other composer until you +have fully mastered the works of Beethoven--only the principal ones, at +that--you will need a life of more length than the Bible allots to the +average man. + +[Sidenote: _The Greatest Composers as Pianists_] + +Is it true that nearly all the great composers have been pianists? + +If by pianists you mean musicians whose sole medium of audible musical +utterance was the piano, your question admits of no other than an +affirmative reply. The only exception I can think of just now was +Berlioz; there were, no doubt, others, but none who belongs to the truly +great ones. The reason for this is, perhaps, the circumstance that the +pianist throughout his education is brought into touch with greater +polyphony than the players of other instruments, and that polyphony is a +basic principle in music. + +[Sidenote: _The Study of Operatic Transcriptions_] + +Is the study of Thalberg's operatic transcriptions of any value to the +piano student? + +Operatic transcriptions begin with Liszt. What was written before him in +that line (and in some degree contemporary with him, hence it includes +Thalberg) is hardly of any significance. If you feel a special +inclination toward the transcriptions of Thalberg you may play them; +they will not harm you so very much. But if you ask me whether they are +of any musical value I must frankly say, no. + +[Sidenote: _Modern Piano Music_] + +Are such pieces as "Beautiful Star of Heaven" or "Falling Waters" in +good taste? What contemporary composers write good piano music? + +Pieces with pretentious names are usually devoid of such contents as +their names imply, so that the names are merely a screen to hide the +paucity of thoughts and ideas. Speaking very generally, there seems to +be not very much good music written for the piano just at present. By +far the best comes from Russia. Most of these compositions are rather +difficult to play, but there are some easy ones to be found among them, +such as the "Music Box," by Liadow, "Fantastic Fairy Tales," No. 12, by +Pachulski, and others. + + +EXERCISES AND STUDIES + +[Sidenote: _Exercises for the Beginner to Practise_] + +Is there any special book of practice exercises that you think best for +a beginner and that you would care to recommend? + +Any reliable music publisher will tell you which book of exercises is +most in demand. The effect of the exercises depends, of course, upon the +way you play them. Indications as to touch, etc., are usually given in +such books. What kind of exercises your case demands cannot be +determined without a personal examination by an expert. + +[Sidenote: _Good Finger Exercises_] + +What would you say are the best studies for plain finger work? + +The exercises of "Pischna" are to be recommended. They have appeared in +two editions, of which one is abridged. They are known as the "large" +and the "small Pischna." You may obtain them through any large music +house, I think, in the Steingraeber Edition. + +[Sidenote: _The Value of Heller's Studies_] + +Are Heller's studies practical for a young student lacking in rhythm and +expression? + +Yes, they are very good, provided the teacher insists that the pupil +plays exactly what is indicated and does not merely "come near it." + +[Sidenote: _Good Intermediate Books of Etudes_] + +Living in the country, where there is no teacher available, I would +thank you for telling me what Etudes I ought to study. I have finished +those by Cramer and Moscheles, and can play them well, but find those by +Chopin too difficult. Are there no intermediate works? + +You seem to be fond of playing Etudes. Well, then, I suggest: + +"Twelve Etudes for Technique and Expression," by Edmund Neupert. + +"Concert Etudes," by Hans Seeling (Peters Edition). + +"Etudes," by Carl Baermann (two books), published in Germany. + +"Etudes," by Ruthardt (Peters Edition). + +But why not select an easy Etude by Chopin and make a start? The best +preparation--if not the Etudes themselves--is Heller's Opus 154. + +[Sidenote: _Etudes For Advanced Players to Work at_] + +What regular technical work would you prescribe for a fairly advanced +pianist--one who plays pretty well such things as the Chopin Etudes in +C minor, Opus 10, No. 12, and in D flat, Opus 25, No. 8, and the B flat +minor prelude? + +My advice to advanced players is always that they should construct their +technical exercises out of such material as the different places in the +pieces at hand furnish. If you should feel the need of Etudes for +increasing your endurance and control of protracted difficult passages I +suggest that you take up the Etudes by Baermann and those by Kessler. +The former are a little easier than the latter. + +[Sidenote: _The Value of Clementi's "Gradus" To-day_] + +My first teacher laid great store by Clementi's "Gradus ad Parnassum," +and insisted upon taking every study in it, while my new teacher, with +whom I recently started lessons, says that it is "outlived, +superannuated." Was my old or my new teacher right? + +They were both right; one as a pedagogue, the other as a musician. As +you do not mention the reason of your first teacher's insistence, I must +assume that he employed the "Gradus" as exercises, pure and simple. It +serves this purpose quite well, though even as studies for the applying +of technical disciplines they are, on account of their dryness, +"outlived," as your new teacher correctly says. Modern writers have +produced studies which combine with their technical usefulness greater +musical value and attractiveness. + + +POLYRHYTHMS + +[Sidenote: _Playing Duple Time Against Triple_] + +How must I execute triplets played against two-eighths? In Clementi's +Sonatina, Opus 37, No. 3, first page, you will find such bars. + +In a slow tempo it may serve you to think of the second eighth-note of +the triplet as being subdivided into two sixteenths. After both hands +have played the first note of their respective groups simultaneously, +the place of the aforesaid second sixteenth is to be filled by the +second note of the couplet. In faster motion it is far better to +practise at first each hand alone and with somewhat exaggerated accents +of each group until the two relative speeds are well established in the +mind. Then try to play the two hands together in a sort of +semi-automatic way. Frequent correct repetition of the same figure will +soon change your semi-automatic state into a conscious one, and thus +train your ear to listen to and control two different rhythms or +groupings at the same time. + +[Sidenote: _The Two Hands Playing Different Rhythms_] + +How should, in Chopin's Fantasy Impromptu, the four notes of the right +be played to the three of the left? Is an exact division possible? + +An exact division would lead to such fractions as the musician has no +means of measuring and no terms for expressing. There is but one way to +play unequal rhythms simultaneously in both hands; study each hand +separately until you can depend upon it, and put them together without +thinking of either rhythm. Think of the points where the two hands have +to meet, the "dead points" of the two motions, and rely on your +automatism until, by frequent hearing, you have learned to listen to two +rhythms at once. + +[Sidenote: _The Old Problem of Duple Time Against Triple_] + +[Illustration] + +How should the above-quoted notes be brought in with the lower triplets? + +It would be futile to attempt a precise and conscious division in such +cases. The best, in fact, the only, way to do is to practise the hands +separately with an exaggerated accent on each beat until the points +where the hands meet are well conceived and the relative speed ratios +are well understood. Then try to play the hands together, and do not be +discouraged if the first attempts fail. Repeat the trial often and you +will finally succeed if the separate practice has been sufficient to +produce a semi-automatic action of the hands. + + +PHRASING + +[Sidenote: _The Value and Correct Practice of Phrasing_] + +Can you give an amateur a concise definition of phrasing and a few +helpful suggestions as to clear phrasing? + +Phrasing is a rational division and subdivision of musical sentences, +and serves to make them intelligible. It corresponds closely with +punctuation in literature and its recitation. Find out the start, the +end, and the culminating point of your phrase. The last-named is +usually to be found upon the highest note of the phrase, while the +former are usually indicated by phrasing slurs. Generally speaking, the +rising of the melody is combined with an increase of strength up to the +point of culmination, where, in keeping with the note design, the +decrease of strength sets in. For artistic phrasing it is of the utmost +importance properly to recognize the principal mood of the piece, for +this must, naturally, influence the rendition of every detail in it. A +phrase occurring in an agitated movement, for instance, will have to be +rendered very differently from a similar-looking phrase in a slow, +dreamy movement. + +[Sidenote: _Do Not Raise Wrist in Marking a Rest_] + +In observing a rest should the hand be raised from the wrist? + +Never! Such a motion should be made only in rapid wrist octaves or other +double notes when a staccato is prescribed. The regular way to conclude +a phrase, or observe a pause, as you say, is to lift the arm from the +keyboard and keep the wrist perfectly limp, so that the arm carries the +loosely hanging hand upward. + + +RUBATO + +[Sidenote: _As to Playing Rubato_] + +Will you please tell me what is the best method of playing rubato? + +The artistic principles ruling rubato playing are good taste and keeping +within artistic bounds. The physical principle is balance. What you +shorten of the time in one phrase or part of a phrase you must add at +the first opportunity to another in order that the time "stolen" +(rubato) in one place may be restituted in another. The aesthetic law +demands that the total time-value of a music piece shall not be affected +by any rubato, hence, the rubato can only have sway within the limits of +such time as would be consumed if the piece were played in the strictest +time. + +[Sidenote: _How to Play Passages Marked "Rubato"_] + +I find an explanation of _tempo rubato_ which says that the hand which +plays the melody may move with all possible freedom, while the +accompanying hand must keep strict time. How can this be done? + +The explanation you found, while not absolutely wrong, is very +misleading, for it can find application only in a very few isolated +cases; only inside of one short phrase and then hardly satisfactorily. +Besides, the words you quote are not an explanation, but a mere +assertion or, rather, allegation. _Tempo rubato_ means a wavering, a +vacillating of time values, and the question whether this is to extend +over both hands or over only one must be decided by the player's good +taste; it also depends upon whether the occupation of the two hands can +be thought of as separate and musically independent. I assume that you +are able to play each hand alone with perfect freedom, and I doubt not +that you can, with some practice, retain this freedom of each hand when +you unite them, but I can see only very few cases to which you could +apply such skill, and still less do I see the advantage thereof. + +[Sidenote: _Perfect Rubato the Result of Momentary Impulse_] + +In playing _rubato_ do you follow a preconceived notion or the impulse +of the moment? + +Perfect expression is possible only under perfect freedom. Hence, the +perfect _rubato_ must be the result of momentary impulse. It is, +however, only a few very eminent players that have such command over +this means of expression as to feel safe in trusting their momentary +impulses altogether. The average player will do well carefully to +consider the shifting of time values and to prepare their execution to a +certain degree. This should not, however, be carried too far, as it +would impair the naturalness of expression and lead to a stereotyped +mannerism. + +[Sidenote: _The Difference Between Conception and Rubato_] + +Is there any difference between conception and _rubato?_ + +Conception is a generic term and comprises the service of each and all +means of expression, among which _rubato_ plays a somewhat prominent +part. For it is, so to speak, the musical pulse-beat of the player. +Being subordinate to conception, its function and manner must be +governed by the latter. + + +CONCEPTION + +[Sidenote: _Different Conceptions May be Individually Correct_] + +Can one and the same phrase be conceived differently by different +artists and still be individually correct in each instance? + +Certainly! Provided that--whatever the conception be--it preserves the +logical relations of the parts in building up the phrase, and that it is +carried through the whole course of the piece in a consistent manner. +Whether a certain conception of a phrase is or is not compatible with +the general character of the piece and how far the freedom of conception +may extend, it will be for the aesthetic training and the good taste of +the player to determine for each and every case separately. + +[Sidenote: _Which Should Come First--Conception or Technique?_] + +In the first attempts at a new piece must matters of conception be +observed at once or only after the piece has been technically mastered? + +Unless one is a very experienced reader it will be hardly possible to +think of matters of conception until the technical means to express them +and the necessary perspective of the piece have been gained. It is +always safer first to make sure that the notes as such, and their +respective times value have been read correctly, and that the technical +difficulties have, to a fair degree, been overcome. This done, the +question must be settled as to whether the general character of the +piece is dramatic, _i. e._, tragic or conciliatory, melancholy, lyric, +rhapsodic, humorous, or changeable, and so forth. Only when our mind on +this point is made up with the utmost definiteness, can we approach the +details that are conditioned by the conception. + + +FORCE OF EXAMPLE + +[Sidenote: _Hearing a Piece Before Studying It_] + +Should a pupil hear a piece played before studying it? + +If the pupil's imagination needs stimulation he should hear the piece +well played before studying it. If, however, he is merely too lazy to +find out the rhythm, melody, and so forth, and rather relies upon his +purely imitative faculty, he should not hear it, but be compelled to do +his own reading and thinking. + + +THEORY + +[Sidenote: _Why the Pianist Should Study Harmony_] + +Do you recommend the study of harmony and counterpoint to the piano +student? + +By all means! To gain a musical insight into the pieces you play you +must be able to follow the course of their harmonies and understand the +contrapuntal treatment of their themes. Without the knowledge gained +through a serious study of harmony and counter-point your conceptions +will be pure guesswork and will lack in outline and definiteness. + +[Sidenote: _Why so Many Different Keys?_] + +Why is it supposed to be necessary to have fifteen keys to complete the +circle of fifths? Why would not twelve suffice, and thus avoid duplicate +keys? + +Not fifteen, but twenty-five tonalities complete the circle of fifths, +theoretically, and they are all necessary because of the many harmonic +turns that occur in modern music and which could not be intelligently +demonstrated unless we use the tonalities with seven, eight, nine or +more sharps and flats. For otherwise we might have to change the +signature so frequently as to become utterly confusing to even the most +musicianly reader. C-sharp minor has but four sharps, yet the scale of +its dominant (its next relative) has eight sharps. + +[Sidenote: _The Relation of Harmony to Piano-Playing_] + +Is it absolutely necessary for me to study harmony in connection with my +piano? My teacher wants me to do it, but I don't see the use! Of what +benefit is harmony? + +Of what benefit is the general school-work a child has to go through? To +play the piano well a good hand and so many hours of practice are not +sufficient; it requires a general musical education. This means, first +and foremost, a knowledge of harmony, to which you may later add the +study of counterpoint and forms. Your teacher is absolutely right. + +[Sidenote: _Text-Books on Harmony_] + +Would you care to recommend two or three of the best books on the study +of harmony? + +The doctrine of harmony is ever the same, but the modes of teaching it +are constantly changing and, I trust, improving. For this reason I feel +a certain hesitation in recommending at this time the text-books which I +studied many years ago, especially as I am not certain that they have +been translated into English. I advise you, therefore, to inquire of +some good teacher of harmony or, at least, of a reliable music publisher +or dealer. E. F. Richter and Buessler wrote works of recognized merit, +which, though no longer modern, may be safely studied. + +[Sidenote: _Learning to Modulate_] + +Is it possible to learn modulating from a book without the aid of a +teacher, so as to connect two pieces of different tonality? + +Possible, yes, but not probable; for since in your written exercises you +are likely to err at times, you will need some one to point out your +errors and so show you the way to correct them. Generally speaking, I do +not think much of studying the rudiments of anything without the aid of +an experienced adviser. + +[Sidenote: _Studying Counterpoint by One's Self_] + +Is it possible to study counterpoint without a teacher, and, if so, what +book can you recommend for its study? + +It is quite possible, provided you are certain never to misunderstand +your text-book and never to commit any errors. Otherwise you will need +the advice of an experienced musician in correcting them. A good +teacher, however, is always better than a book for this study. Of +text-books there are a great many. Any reliable music house will furnish +you with a list of them. + +[Sidenote: _Should Piano Students Try to Compose?_] + +Besides my study of the piano shall I try to compose if I feel the +inclination and believe I have some talent for it? + +The practice of constructing will always facilitate your work of +reconstructing, which is, practically, what the rendition of a musical +work means. Hence, I advise every one who feels able to construct even a +modest little piece to try his hand at it. Of course, if you can write +only a two-step it will not enable you to reconstruct a Beethoven +Sonata; still, there may be little places in the Sonata that will clear +up in your mind more quickly when you have come in touch with the +technical act of putting down on paper what your mind has created, and +you will altogether lose the attitude of the absolute stranger when +facing a new composition. Do not construe this, however, as an +encouragement to write two-steps! + +[Sidenote: _The Student Who Wants to Compose_] + +Please advise me as to the best way of learning composition. Which is +the best work of that kind from which I could learn? + +First learn to write notes. Copying all sorts of music is the best +practice for that. Then study the doctrine of harmony. Follow it up by a +study of the various forms of counterpoint. Proceed to canon in its many +kinds and intervals. Take up the fugue. Then study forms until you learn +to feel them. Books for every one of these stages there are many, but +better than all the books is a good teacher. + +[Sidenote: _The Difference Between Major and Minor Scales_] + +What is the difference between the major and minor scale? Does it lie in +the arrangement of semitones or in the character, or in both? + +There are three differences: First, in the arrangement of the semitones; +second, in the character; and, third, in the circumstance that the minor +scale admits of a number of modifications for melodic purposes which +cannot be made in the major scale. + +[Sidenote: _There is Only One Minor Scale_] + +Which is the true minor scale, the melodic or the harmonic? My teacher +insists upon the harmonic, but it sounds ugly to me. Will you please +tell me something about it? + +There is but one minor scale; it is the one upon which the chords of its +tonality are built; it is the one upon which your teacher wisely +insists, because the so-called melodic minor scale offers no new +intervals to your fingers, and because the term melodic minor scale is +applied to that form of deviation from the real scale which is most +frequently used, but which is by no means the only deviation that is +possible; nor is it the only one in use. + +[Sidenote: _What is the Difference Between the Major and Minor Scales?_] + +What is the difference between the major and minor scales? + +The major scale has a major third and sixth, while the minor scale has a +minor third and sixth and raises its seventh to a major seventh by an +accidental elevating sign, raising a natural note by a sharp, and a flat +note by a natural. If you begin your major scale upon its sixth degree +and, counting it as the first of the minor, raise the seventh, you +obtain the minor scale, in which, however, many modifications are +admissible for melodic (though not for harmonic) purposes. + +[Sidenote: _How Waltz, Menuet, Mazurka, and Polonaise Differ_] + +As a waltz and a menuet are both in three-fourth time, is it only the +tempo in which they differ, or are there other differences? + +Waltz, menuet, mazurka, and polonaise are all in three-fourth time and +are not confined to a definite tempo. The difference between them lies +in the structure. A waltz period--that is, the full expression of a +theme--needs sixteen measures; a menuet needs only eight, a mazurka only +four measures. In a mazurka a motive occupies only one measure, in the +menuet two, and in the waltz four. The polonaise subdivides its quarters +into eighths, and the second eighth usually into two sixteenths; it +differs, therefore, from the other three dances by its rhythm. + +[Sidenote: _The Meaning of "Toccata"_] + +What is the meaning of the word "Toccata"? I do not find it in the +Italian lexicon and the English musical dictionaries differ widely in +their definitions. None of their definitions seems to apply to the +Toccata by Chaminade. + +To make the matter quite plain let me say, first, that "Cantata" (from +_cantare_--to sing) meant in olden times a music piece to be sung; while +"Sonata" (from _suonare_--to play) designated a piece to be played on an +instrument; and "Toccato" meant a piece for keyboard instruments like +the organ or piano and its precursors, written with the intention of +providing special opportunities for the display of the skill of touch +(from _toccare_--to touch) or, as we would now say, finger technique. +The original meanings have changed so that these terms now imply +definite forms, like the modern Cantata and Sonata. The Toccata is, at +present, understood to be a piece in constant and regular motion, very +much like those that are called "_moto perpetuo_" or "perpetual motion," +of which Weber's "Perpetuum mobile" is a good example. I have no doubt +that the Toccata by Chaminade, which I do not know, is written on +similar lines. + + +THE MEMORY + +[Sidenote: _Playing from Memory Is Indispensable_] + +Is memorization absolutely essential to a good player? + +Playing from memory is indispensable to the freedom of rendition. You +have to bear in your mind and memory the whole piece in order to attend +properly to its details. Some renowned players who take the printed +sheets before them on the stage play, nevertheless, from memory. They +take the music with them only to heighten their feeling of security and +to counteract a lack of confidence in their memory--a species of +nervousness. + +[Sidenote: _The Easiest Way to Memorize_] + +Will you please tell me which is the easiest way to memorize a piano +piece? + +Begin by playing it a few times very carefully and slowly until you can +play it with a fair degree of exactitude (you need not mind an +occasional stopping). Then go over such places as appeared to you +especially complex until you understand their construction. Now let the +piece rest for a whole day and try to trace in your mind the train of +thoughts in the piece. Should you come to a dead stop be satisfied with +what you have achieved. Your mind will keep on working, subconsciously, +as over a puzzle, always trying to find the continuation. If you find +that the memory is a blank take the music in hand, look at the +particular place--but only at this--and, since you have now found the +connection, continue the work of mental tracing. At the next stop repeat +this procedure until you have reached the end, not in every detail, but +in large outlines. Of course, this does not mean that you can now _play_ +it from memory. You have only arrived at the point of transition from +the imagined to the real, and now begins a new kind of study: to +transfer to the instrument what you have mentally absorbed. Try to do +this piece by piece, and look into the printed sheets (which should not +be on the music-rack but away from it) only when your memory absolutely +refuses to go on. The real work with the printed music should be +reserved to the last, and you should regard it in the light of a +proof-reading of your mental impressions. The whole process of absorbing +a piece of music mentally resembles that of photographing. The +development of the acoustic picture (the tone-picture) is like the bath. +The tentative playing is like the process of "fixing" against +sensitiveness to lights; and the final work with the printed music is +the retouching. + +[Sidenote: _In Order to Memorize Easily_] + +I find it very hard to memorize my music. Can you suggest any method +that would make it easier? + +To retain in one's memory what does not interest one is difficult to +everybody, while that which does interest us comes easy. In your case +the first requirement seems to be that your interest in the pieces you +are to play be awakened. This interest usually comes with a deeper +understanding of music; hence, it may be said that nothing will assist a +naturally reluctant memory so much as a general musical education. +Special studies for the memory have not come to my knowledge because I +never had any need of them. After all, the best way to memorize is--to +memorize. One phrase to-day, another to-morrow, and so on, until the +memory grows by its own force through being exercised. + +[Sidenote: _Memorizing Quickly and Forgetting as Readily_] + +I memorize very easily, so that I can often play my pieces from memory +before I have fully mastered their technical difficulties, as my +teacher says. But I forget them just as quickly, so that in a few weeks +I cannot remember enough of them to play them clear through. What would +you advise, to make my memory more retentive? + +There are two fundamental types of memory: One is very mobile--it +acquires quickly and loses just as quickly; the other is more cumbrous +in its action--it acquires slowly, but retains forever. A combination of +the two is very rare, indeed; I never heard of such a case. A remedy +against forgetting you will find in refreshing your memory in regular +periods, playing your memorized pieces over (carefully) every four or +five days. Other remedies I know not and I see no necessity for them. + +[Sidenote: _To Keep Errors from Creeping in_] + +I can always memorize a piece before I can play it fast. Do you advise +practising with notes when I already know it by heart? + +The occasional playing of a memorized piece from the notes will keep +errors from creeping in, provided you read the music correctly and +carefully. + + +SIGHT READING + +[Sidenote: _The Best Way to Improve Sight-Reading_] + +Is there any practical method that will assist one to greater rapidity +in sight-reading? + +The best way to become a quick reader is to read as much as possible. +The rapidity of your progress depends upon the state of your general +musical education, for the more complete this is the better you will be +able to surmise the logical sequel of a phrase once started. A large +part of sight-reading consists of surmising, as you will find upon +analyzing your book-reading. + +[Sidenote: _To Gain Facility in Sight-Reading_] + +What is a good plan to pursue to improve the facility in sight-reading? + +Much reading and playing at sight and as fast as possible, even though +at first some slight inaccuracies may creep in. By quick reading you +develop that faculty of the eye which is meant by "grasp," and this, in +turn, facilitates your reading of details. + + +ACCOMPANYING + +[Sidenote: _Learning To Accompany at Sight_] + +How can one learn to accompany at sight? + +Develop your sight-reading by playing many accompaniments, and +endeavour--while playing your part--also to read and inwardly hear the +solo part. + +[Sidenote: _The Art of Accompanying a Soloist_] + +How should one manage the accompaniment for a soloist inclined to play +rubato? + +Since you cannot make a contract of artistically binding force with a +soloist you must take refuge in "following." But do not take this word +in its literal meaning; rather endeavour to divine the intentions of +your soloist from moment to moment, for this divining is the soul of +accompanying. To be, in this sense, a good accompanist, one must have +what is called in musical slang a good "nose"--that is, one must +musically "scent" whither the soloist is going. But, then, the nose is +one of the things we are born with. We may develop it, as to its +sensitiveness, but we cannot acquire a nose by learning. Experience will +do much in these premises, but not everything. + +[Sidenote: _Learning the Art of Accompanying_] + +Wishing to become an accompanist I anticipate completing my studies in +Berlin. What salary might I expect and what would be the best "course" +to pursue? + +An experienced and very clever accompanist may possibly earn as much as +fifty dollars a week if associated with a vocal, violin, or 'cello +artist of great renown. Usually, however, accompanists are expected to +be able to play solos. There are no special schools for accompanists, +though there may be possibly some special courses in which experience +may be fostered. If you come to Berlin you will find it easy to find +what you seem to be seeking. + + +TRANSPOSING + +[Sidenote: _The Problem of Transposing at Sight_] + +What, please, is the quickest and safest way of transposing from one key +to another? I have trouble, for instance, in playing for singing if the +piece is in A major and the singer wants it in F major. + +The question of transposing hinges on the process of hearing through the +eye. I mean by this that you must study the piece until you learn to +conceive the printed music as sounds and sound groups, not as key +pictures. Then transfer the sound picture to another tonality in your +mind, very much as if when moving from one floor to another with all +your household goods you were to place them on the new floor as they +were placed on the old. Practice will, of course, facilitate this +process very much. Transposition at sight is based on somewhat different +principles. Here you have to get mentally settled in the new tonality, +and then follow the course of intervals. If you find transposition +difficult you may derive consolation from the thought that it is +difficult for everybody, and that transposing at sight is, of course, +still more difficult than to transpose after studying the piece +beforehand. + + +PLAYING FOR PEOPLE + +[Sidenote: _When to "Play For People"_] + +During the period of serious study may I play for people (friends or +strangers) or should I keep entirely away from the outside world? + +From time to time you may play for people the pieces you have mastered, +but take good care to go over them afterward--the difficult places +slowly--in order to eliminate any slight errors or unevenness that may +have crept in. To play for people is not only a good incentive for +further aspirations; it also furnishes you with a fairly exact estimate +of your abilities and shortcomings, and indicates thereby the road to +improvement. To retire from the outside world during the period of study +is an outlived, obsolete idea which probably originated in the endeavour +to curb the vanity of such students as would neglect their studies in +hunting, prematurely, for applause. I recommend playing for people +moderately and on the condition that for every such "performance" of a +piece you play it afterward twice, slowly and carefully, at home. This +will keep the piece intact and bring you many other unexpected +advantages. + +[Sidenote: "_Afraid to Play Before People_"] + +I can never do myself justice when playing for people, because of my +nervousness. How can I overcome it? + +If you are absolutely certain that your trouble is due to "nervousness" +you should improve the condition of your nerves by proper exercise +in the open air and by consulting your physician. But are you +quite sure that your "nervousness" is not merely another name for +self-consciousness, or, worse yet, for a "bad conscience" on the score +of technical security? In the latter case you ought to perfect your +technique, while in the former you must learn to discard all thought of +your dear self, as well as of your hearers in relation to you, and +concentrate your thinking upon the work you are to do. This you can well +achieve by will-power and persistent self-training. + +[Sidenote: _Effect of Playing the Same Piece Often_] + +I have heard artists play the same piece year after year, and each time +as expressively as before. After a piece has been played several hundred +times it can hardly produce on the player the same emotional effect that +it originally did. Is it possible for a player by his art and technical +resources so to colour his tones that he can stimulate and produce in +his audience an emotional condition which he himself does not at the +time feel? + +In music emotion can be conveyed only through the means and modes of +expression that are peculiar to music, such as dynamic changes, +vacillations of tempo, differences of touch and kindred devices. When a +piece is played in public very often on consecutive occasions--which +artists avoid as much as they can--these expressions gradually assume a +distinct form which is quite capable of preservation. Though it will in +time lose its life-breath, it can still produce a deception just as (to +draw a drastic parallel) a dead person may look as if he were only +asleep. In this parallel the artist has, however, one great advantage. +Since he cannot play a piece very often without having a number of +errors, rearrangements, slight changes creeping into it, he must, in +order to eliminate them and to cleanse the piece, return from time to +time to slow practice in which he also refrains almost entirely from +expression. When in the next public performance the right tempo and +expression are added again they tend strongly to renew the freshness of +the piece in the player's mind. + +[Sidenote: _The Pianist Who Fails to Express Herself_] + +I love music dearly and my teacher is always satisfied with my lessons, +but when I play for my friends I never make a success. They compliment +me, but I feel that they do not care for my playing; even my mother says +that my playing is "mechanical." How can I change it? + +It is just possible that your friends and your mother may not be +amenable to the high class of music which you play, but if this is not +the case your affliction cannot be cured offhand. If the lack of +expression in your playing should emanate from a lack of feeling in +yourself, then your case would be incurable. If, however, you play +"mechanically" because you do not know how to express your emotions in +your playing--and I suspect it to be so--then you are curable, although +there are no remedies that would act directly. I suggest that you form +close associations with good musicians and with lovers of good music. By +looking well and listening you can learn their modes of expression and +employ them first by imitation until the habit of "saying something" +when you play has grown upon you. I think, though, that you need an +inward change before there can be any outward change. + +[Sidenote: _The Art of Playing With Feeling_] + +In the musical manifestations of feeling how does the artist chiefly +differ from the amateur? + +The artist expresses his feelings with due deference to the canons of +art. Above all, he plays correctly without allowing this ever-present +correctness to make his playing seem lacking in feeling. Without unduly +repressing or suppressing his individuality he respects the composer's +intentions by punctiliously obeying every hint or suggestion he finds in +the annotations, concerning speed, force, touch, changes, contrasts, +etc. He delivers the composer's message truthfully. His personality or +individuality reveals itself solely in the way he understands the +composition and in the manner in which he executes the composer's +prescriptions. + +Not so the amateur. Long before he is able to play the piece correctly +he begins to twist and turn things in it to suit himself, under the +belief, I suppose, that he is endowed with an "individuality" so strong +as to justify an indulgence in all manner of "liberties," that is, +licence. Feeling is a great thing; so is the will to express it; but +both are worthless without ability. Hence, before playing with feeling, +it were well to make sure that everything in the piece is in the right +place, in the right time, strength, touch, and so forth. Correct +reading--and not only of the notes _per se_--is a matter that every good +teacher insists upon with his pupils, even in the earliest grades of +advancement. The amateur should make sure of that before he allows his +"feelings" to run riot. But he very seldom does. + +[Sidenote: _Affected Movements at the Piano_] + +Is there any justification for the swaying of the body, the nodding of +the head, the exaggerated motion of the arms, and all grotesque actions +in general while playing the piano, so frequently exhibited not only by +amateurs but by concert players, too? + +All such actions as you describe reveal a lack of the player's proper +self-control when they are unconsciously indulged in. When they are +consciously committed, which is not infrequently the case, they betray +the pianist's effort to deflect the auditors' attention from the +composition to himself, feeling probably unable to satisfy his auditors +with the result of his playing and, therefore, resorting to +illustration by more or less exaggerated gesture. General +well-manneredness, or its absence, has a good deal to do with the +matter. + + +ABOUT THE PIANO PER SE + +[Sidenote: _Is the Piano the Hardest to Master?_] + +Do you believe that the piano is the most difficult of all instruments +to master--more so than the organ or the violin? If so, why? + +The piano is more difficult to master than the organ, because the +tone-production on the piano is not so purely mechanical as it is on the +organ. The pianist's touch is the immediate producer of whatever variety +or colour of tone the moment requires, whereas the organist is powerless +to produce any change of tone colour except by pulling a different stop. +His fingers do not and cannot produce the change. As to string +instruments, their difficulties lie in an entirely different field, and +this fact precludes comparison with the piano. Technically, the string +instrument may be more difficult, but, to become an exponent of musical +art on the piano requires deeper study, because the pianist must +present to his hearers the totality of a composition while the string +instruments depend for the most part upon the accompaniments of some +other instruments. + +[Sidenote: _Piano Study for Conductor and Composer_] + +Being a cornet player, and wishing to become a conductor and composer, I +should like to know if the study of the piano is necessary in addition +to my broad, theoretical studies and a common college course. + +It depends upon what you wish to conduct and what to compose. With no +other means of musically expressing yourself than a cornet it is highly +improbable that you will be able to write or conduct a symphony. But you +may be able to lead a brass band and, perhaps, to write a march or dance +piece. If your musical aims are serious by all means take to the piano. + +[Sidenote: _Why the Piano Is So Popular_] + +Why do more people play the piano than any other instrument? + +Because the rudimentary stages of music study are easier on the piano +than on any other instrument. The higher stages, however, are so much +more difficult, and it is then that the piano gets even with the bold +aggressor. A violinist or 'cellist who can play a melody simply and with +good tone is considered a fairly good amateur, for he must have mastered +the difficulty of tone-production; he must have trained his right arm. A +pianist who can play a melody equally well is the merest tyro. When he +approaches polyphony, when the discrimination begins between the various +parts speaking simultaneously, aye, then the real work begins--not to +speak of velocity. It is, perhaps, for this reason that in reality there +are a great many more violinists than pianists, if by either we mean +persons who really master their instrument. The number of 'cellists is +smaller, but the reason for this is to be found in the small range of +'cello literature and also, perhaps, in the comparative unwieldiness of +the instrument, which does not admit of technical development as, for +instance, the more handy violin. If all beginners at the piano realized +what exasperating, harassing, discouraging, nerve-consuming difficulties +await them later and beset the path to that mastery which so few +achieve, there would be far fewer piano students and more people would +study the violin or the 'cello. Of the harp and the wind instruments I +need not speak, because they are to be considered only in matters +orchestral and not--seriously--as solo instruments. + +[Sidenote: _The Genuine Piano Hand_] + +What shape of hand do you consider the best for piano playing? Mine is +very broad, with rather long fingers. + +The best piano hand is not the popular, pretty, narrow hand with long +fingers. Nearly all the great technicians had or have proportioned +hands. The genuine piano hand must be broad, in order to give each +finger a strong base for the action of its phalanges and to give this +base space enough for the development of the various sets of muscles. +The length of the fingers must be in proportion to the width of the +hand, but it is the width which I consider most important. + +[Sidenote: _The Composition Must Fit the Player_] + +Would you advise players with small hands to attempt the heavier class +of the compositions by Liszt? + +Never! Whether the hands are too small or the stretch between the +fingers too narrow--if you attempt a piece which for these or other +physical reasons you cannot fully master, you always run the serious +risk of overstraining. This, however, should be most carefully avoided. +If you cannot play a certain piece without undue physical strain, leave +it alone and remember that singers choose their songs not because they +lie within their compass, but because they suit their voice. Do +likewise. Be guided by the nature and the type of your hand rather than +by its rapidity of execution. + +[Sidenote: _The Best Physical Exercise for the Pianist_] + +What physical exercises are most advantageous to be taken in connection +with piano practice? I have been swinging clubs to strengthen wrists and +arms, but have imagined it stiffened my fingers. + +I am inclined to think that what you imagined was not far from the +truth. Can you not replace the real clubs by imaginary ones? Since +club-swinging tends to develop the agility of the arms and wrists rather +than their strength you can easily make the same motions without the +clubs; for all exertion of force that keeps the hands in a closed +condition is bound to have a bad effect on piano playing. Undoubtedly +the best exercise of all, however, is brisk walking in the open air, for +it engages every part and every organ of the body, and by compelling +deep breathing it fosters the general health through increased +oxygenation. + +[Sidenote: _Horseback Riding Stiffens the Fingers_] + +My teacher objects to my riding horseback; not altogether, but he says I +overdo it and it stiffens my fingers. Is he right? + +Yes, he is. Every abuse carries its own punishment in its train. The +closed position of the hand, the pressure of the reins upon the fingers, +as constant as it is the case in horseback riding, is surely not +advantageous for the elasticity of the fingers. You should, therefore, +allow the effect of one ride upon your fingers to disappear completely +before you indulge in another. + +[Sidenote: _When to Keep Away from the Piano_] + +Do you think I should play and study the piano just because it is asked +of me, and when I take no interest in it? + +Most emphatically, no! It would be a crime against yourself and against +music. What little interest in music you may have left would be killed +by a study that is distasteful to you, and this would be, therefore, +bound to lead to failure. Leave this study to people who are sincerely +interested in it. Thank heaven, there are still some of those, and there +always will be some! Be sure, however, that you are really not +interested, and discriminate well between a lack of interest and a mere +opposition to a perhaps too strenuous urging on the part of your +relatives. My advice would be to quit the study for a time entirely; if, +after a while, you feel a craving for music you will find the way to +your instrument. This advice, of course, holds good also for violin +students or any type of music student. + + +BAD MUSIC + +[Sidenote: _The Company That One Keeps in Music_] + +Must I persist in playing classical pieces when I prefer to play dance +music? + +If, in your daily life, you wish to be regarded as a lady or a gentleman +you are obliged to be careful as to the company you keep. It is the same +in musical life. If you associate with the noble thoughts that +constitute good--or, as you call it, classical--music, you will be +counted with a higher class in the world of music. Remember that you +cannot go through a flour-mill without getting dusty. Of course, not all +pieces of dance music are bad; but the general run of them are such +poor, if not vulgar, stuff as hardly to deserve the name of +"compositions." Usually they are mere "expositions" of bad taste. Of +these I warn you for your own sake, and if you wish to avoid the danger +of confounding the good and the bad in that line it is best to abstain +from it entirely. If dance music it must be, why, have you never heard +of the waltzes and mazurkas by Chopin? + +[Sidenote: _Why Rag-Time Is Injurious_] + +Do you believe the playing of the modern rag-time piece to be actually +hurtful to the student? + +I do, indeed, unless it is done merely for a frolic; though even such a +mood might vent itself in better taste. The touch with vulgarity can +never be but hurtful, whatever form vulgarity may assume--whether it be +literature, a person, or a piece of music. Why share the musical food +of those who are, by breeding or circumstance, debarred from anything +better? The vulgar impulse which generated rag-time cannot arouse a +noble impulse in response any more than "dime novels" can awaken the +instincts of gentlemanliness or ladyship. If we watch the street-sweeper +we are liable to get dusty. But remember that the dust on the mind and +soul is not so easily removed as the dust on our clothes. + + +ETHICAL + +[Sidenote: _What the Object of Study Should Be_] + +How can we know that our talent is great enough to warrant us in +bestowing year after year of work upon its development? + +Pleasure and interest should be such that it is in the actual working +that one is repaid. Do not think so much of the end of your work. Do not +force your work with the one view of becoming a great artist. Let +Providence and the future decide your standing in music. Go on studying +with earnestness and interest, and find your pleasure in the endeavour, +not in the accomplishment. + + +PITCH AND KINDRED MATTERS + +[Sidenote: _The International Pitch_] + +What is meant by "pitch" as regards piano tuning? People say that a +certain piano is pitched lower than another. Would E on one piano +actually sound like F on another? + +Yes, it would if the pianos were not pitched alike. It is only recently +that an international pitch has been established which was adopted +everywhere except in England. In the international pitch the A in the +second space of the treble staff makes 435 vibrations a second. + +[Sidenote: _The "International" Piano Pitch_] + +Which piano pitch is preferable, "concert" or "international"? + +By all means the "international," because it will fit your piano to be +used in conjunction with any other instrument, no matter whence it may +come. Besides, the international pitch was decided upon as far back as +1859, in Paris, by a government commission, numbering among its members +such men as Auber, Halevy, Berlioz, Meyerbeer, Rossini, Ambroise Thomas, +and many physicists and army generals. You can easily infer from this +that, in determining that the A in the second space of the treble staff +should have 435 vibrations a second, all phases of music--vocal, +instrumental, string, brass, wood, wind--have been duly considered. + +[Sidenote: _The Well-Tempered Piano Scale_] + +Is there really a difference of three-eighths of a tone between A-sharp +and B-flat on the piano? + +There is no difference on the piano. But acoustically there is a +difference, over which, however, I would waste no time, since the +evenly-tempered scale has been generally adopted, and every composition +from Bach's time to the present day has been thought and written in it. + +[Sidenote: _The "Colour" of Various Keys_] + +Is it not a mistaken idea that any one particular key is more or less +rich or melodious than another? + +The effect of a tonality upon our hearing lies not in its signature (as +even Beethoven seemed to believe) but in the vibration proportions. It +is, therefore, irrelevant whether we play a piece upon a high-pitched +piano in C, or upon a low-pitched piano in D flat. There are certain +keys preferable to others for certain colours, but I fear that the +preference is based not upon acoustic qualities but rather upon a +fitness for the hand or voice. We apply the word "colour" as much to +tone as the painters apply "tone" to colour, but I hardly think that +anybody would speak of C major as representing black, or F major green. + + +THE STUDENT'S AGE + +[Sidenote: _Starting a Child's Musical Training_] + +At what age should a child begin the study of instrumental music? If my +daughter (six years old) is to study the violin should she first spend a +few years with the piano, or _vice versa_? + +The usual age for a child to begin the study of music is between six and +seven years. A pianist hardly needs to learn another instrument to +become a well-rounded musician, but violinists, as well as the players +of all other instruments, and also vocalists, will be much hampered in +their general musical development if they fail to acquire what may be +called a speaking acquaintance with the piano. + +[Sidenote: _Age of the Student is Immaterial_] + +I am not longer in my first youth, cannot take more than one hour's +lesson a week, and cannot practise more than three hours a day. Would +you still advise me to begin the study of the piano? + +Provided there is gift and intelligence, the will, and the opportunity +to study, age need not stand in your way. If your three hours of study +are properly used, and your hour's lesson a week is with a good teacher, +you should not become discouraged. + +[Sidenote: _Twenty-five Not Too Late to Begin_] + +Do you think that mastery of the piano is unlikely or impossible when +the beginner is twenty-five years of age? + +It is neither unlikely nor impossible. Your age will to some degree +handicap you, because from purely physical causes the elasticity of the +fingers and wrists could be developed much more quickly if you were ten +years younger. If, however, you are endowed with strong musical gifts in +the abstract you will achieve results superior to those attained by +younger people with less talent. In overcoming the difficulties due to a +late beginning you will find great inward satisfaction, and your +attainments are bound to be a source of joy to you. + + +TEACHERS, LESSONS AND METHODS + +[Sidenote: _The Importance of the Right Teacher_] + +I have a son who is very desirous of learning to play the piano. I have +been advised that an ordinarily good teacher is good enough to begin +with. Others tell me a beginner should get the best teacher possible. +Which would you advise? I live in a small town. + +The seriousness of your question is aggravated by the statement that you +live in a small town, and that there is possibly no teacher of ability +to be found in your town. And yet it is only such a one that I can +recommend for your son. For nothing is more dangerous for the +development of a talent than a bad foundation. Many people have tried +all their lives to rid themselves of the bad habits acquired from an +ignorant teacher in the rudimentary stages of their studies, and have +failed. I should advise you to try your best to send your boy to some +near-by city where there is an excellent teacher. + +[Sidenote: _Nothing But the Best Will Do_] + +Wishing to begin the study of the piano now, in my twenty-fourth year, +just for the sake of my great love for music, and knowing not even the +notes, is it necessary to go to an expensive teacher at once or would a +cheaper teacher do for the beginning? + +If music is to be merely a pastime, and you content yourself with a +minimum of knowledge, the cheaper teacher will do; but if you aspire to +become musical in a better sense, why, by all means, apply to a teacher +of the better class. The maxim: "For the beginning this or that is good +enough," is one of the most harmful fallacies. What would you think of +an architect who says: "For the foundation loam is good enough; we put a +sandstone house over it, any way." Remember also, that the road a +cheaper teacher has led you to take must usually be retraced when your +aspirations rise toward the better in music. + +[Sidenote: _Music Schools and Private Teachers_] + +Shall I take my lessons in a music school or from a private teacher? + +Music schools are very good for acquiring a general musical education. +For the higher study of an executive specialty (piano, violin, the +voice, etc.) I should naturally prefer private instruction from a +specialist, because he can give more attention to each individual pupil +than is possible under the wholesale system followed, not by all, but by +the majority of music schools. What I should advise would be a +combination: General matters--harmony, counterpoint, forms, history, and +aesthetics--in a music school; and private lessons for your specialty +from a teacher who has an established name as an executive artist. The +best music schools have such a man at their head, and in these you find +the best combination. + +[Sidenote: _Individual Teacher, or Conservatory?_] + +After taking lessons for five years and a half from a good teacher, +would you advise a continuance with the individual teacher or attendance +at a college of music or conservatory? + +For a general musical education I always recommend a good music school +or conservatory. For the study of the piano I think it best to take +private lessons from an artist who is experienced both as an executant +and as a teacher. Some music schools have such men on their staff, if +not, indeed, at their head. + +[Sidenote: _Where Outside Criticism Is Desirable_] + +Having had twenty months' lessons and having now mastered Etudes by +Berens, opus 61, by Heller, opus 47, and Smith's Octave Studies, do you +think I am justified in continuing my lessons? + +Assuming that you have really "mastered" the works you mention I can +only encourage you to continue your lessons; I would, however, advise +you to obtain an experienced pianist's criticism in order to assure +yourself that your idea of "mastering" is right. + +[Sidenote: _The Sex of the Piano Teacher_] + +Is there any preference as to sex in the question of choosing a piano +teacher; in other words, is a woman teacher preferable for any reason +for a girl and a man teacher for a man? + +Your question does not admit of generalization from a purely musical +point of view. It must be--on this premise--decided by the quality, not +by the sex, of the teacher. A good feminine teacher is better than a bad +masculine one, and _vice versa_. The question of sex does not enter +into the matter. Of course, the greater number of eminent teachers are +found on the masculine side. + +[Sidenote: _Too Much "Method"_] + +My recently engaged teacher says that the word "method" jars on her +nerves. Kindly advise me whether a method is not the best thing for a +novice, and, if so, which one? + +Your teacher, while possibly a little over-sensitive, is not wrong. +America is the most method-ridden country in the world. Most of the +methods in vogue contain some good points--about a grain of truth to a +ton of mere ballast. Your teacher's utterance makes me think that you +were lucky in finding her, and that you have excellent reason to trust +in her guidance. + +[Sidenote: _What the Leschetizky Method Is_] + +How does the Leschetizky method rank with other methods, and in what +respect does it differ from them? + +There are but two methods in all the arts: a good one and a bad one. +Since you do not specify with what "other" methods you wish to compare +that of Leschetizky I cannot answer you with definiteness. There are, +alas, so many "methods"! But the majority of them are based upon a +deliberate disregard for that reverence which is due to great +compositions and to the example of their rendition given by great +interpreters. I have not studied with Leschetizky, but I think that he +believes in a very low position of the hand and a sort of +super-energetic tension of the tendons of the arms and hands. + +[Sidenote: _Give Your Teacher a Fair Trial_] + +Has a young pupil, after studying the piano irregularly for two months, +tested fairly a teacher's ability? + +Of course not! Altogether I do not like the idea of a pupil's testing +his teacher's ability, rather the reverse. He may possibly find his +teacher unsympathetic, but even this matter he is apt to judge +prematurely. In most cases of irregularly attended or poorly prepared +lessons the lack of sympathy means nothing more than that the pupil is a +trifler and the teacher's honesty of purpose is not to his taste. + +[Sidenote: _Either Trust Your Teacher or Get a New One_] + +I have a "Piano Method," left over from lessons with my first teacher; +it was very expensive, and I learned only a few pages of it. We moved to +a different city and my new teacher objects to using the book, or, as +she says, any such book. I do not know what to do about it, and would +thank you for your advice. + +When you apply to a teacher for instruction you must, first of all, +decide in your own mind whether you have or have not absolute confidence +in his ability. If you trust him you must do as you are advised to do; +if not, you must apply to another teacher. A book, costing much or +little, plays no part in the matter. By what you say of the new teacher, +however, I am disposed to think that he is better than the first one. + +[Sidenote: _The Proper Course For a Little Girl_] + +Commencing piano lessons with my seven-year-old daughter, should I +devote my efforts to the development of the fingers and hands, or retard +such development so as to keep pace with the expansion of the mind? + +Your question is interesting. But if your mind is clear on that +point--and it seems to be--that a one-sided development (in this case +technical) is dangerous to the "musical" talent of your little daughter, +why, then, your little girl is, indeed, "out of danger." Your very +question is a credit to your insight. + +[Sidenote: _Frequent Lessons and Shorter_] + +Is it better for a young student to take one hour lesson or two +half-hour lessons a week? + +Since young students are liable to form bad habits it is essential that +they should come under the teacher's eye as frequently as possible. +Hence, it is preferable to divide the hour into two equidistant parts. + +[Sidenote: _Number of Lessons Depends on Progress_] + +Which plan is better for a child of eleven or twelve years: to take a +one-hour lesson or two half-hour lessons a week? + +The child's age is not the determining factor in this matter; it is his +musical status. + +[Sidenote: _One Lesson a Week_] + +Is one lesson a week inadequate for a piano student? + +It will be sufficient in the more advanced stages of piano study. In +the earlier stages, however, where the danger of forming bad habits is +greatest, it is best to bring the pupil under his teacher's eye twice a +week at the very least. + +[Sidenote: _Better Not Give the Child "Modified Classics"_] + +What little classics are best for a child after six months' lessons? + +There are collections without number of facilitated or simplified +arrangements of classic pieces, but I do not altogether approve of them. +Let the classics wait until the child is technically--and, above all, +mentally--ripe to approach such works as they are written. + +[Sidenote: _Can Music Be Studied in America?_] + +Is it necessary for me to go to Europe to continue my music studies? + +If you have very much money to spare, why not? You will see much, also +hear much--and some of it not quite so sublime as you anticipated--and, +last but not least, you will have "studied abroad." While this slogan +still exercises a certain charm upon some people in America, their +number is growing less year by year, because the public has begun to +understand that the United States affords just as good instruction in +music as Europe does. It has also been found out that to "study abroad" +is by no means a guarantee of a triumphant return. Many a young student +who went abroad as a lamb returned as a mutton-head. And why should +there not be excellent teachers in America by this time? Even if you +should insist upon a European teacher you can find many of the best in +America. Is it not simpler that one teacher from Europe go to America to +teach a hundred students than that a hundred students should make the +trip for the sake of one teacher? I should advise you to stay where you +are or go to Philadelphia, New York, or Boston, where you can find +excellent teachers, native, resident Americans and foreigners. To quote +a case in point, let me say that in Berlin I found Godowsky's pupils to +be almost exclusively Americans. They came from various sections of +America to study with him and with no one else. But during the eighteen +years he spent in Chicago they did not seem to want him. Perhaps he was +too near by! Why this self-deception? Without mentioning any names I +assure you that there are many teachers in America now who, if they +should go to Europe, would draw a host of students after them, and some +of these excellent men I know personally. It is high time to put an end +to the superstitious belief in "studying abroad." + + +MISCELLANEOUS QUESTIONS + +[Sidenote: _Organizing a Musical Club_] + +Please give me the name of a good book on musical history and advise me +how to organize and conduct a musical club among my pupils. Also give me +a name, please. + +You will find the "History of Music," by Baltzell, a serviceable book. +As a name for your club I suggest that of the patron saint of +music--Saint Cecilia--perhaps, or that of a great composer. Ask the +secretaries of a number of musical clubs for their constitutions and +by-laws and then adapt these to your locality and circumstances. Make +your pupils feel that it is their club and act, yourself, as secretary, +if possible. + +[Sidenote: _How to Get Music Published_] + +Please explain how to go about publishing a piece of music, and also +give the name of some good publishing houses. + +It is very easy to publish a piece of music if the publisher sees any +merit in it. Send your piece to any publishing house whose name you find +on the title pages of your sheet music. The readers or advisers of the +house will report to their chief as to the merit of your piece, and he +will then decide and negotiate with you, if his decision is favourable. +If he should not care for it he will return your manuscript and you may +try some other house. I advise you, however, to obtain the opinion of a +good musician before you send your piece to a publisher. + +[Sidenote: _"Playing in Time" and "Playing in Rhythm"_] + +What is the difference between playing "in time" and playing "in +rhythm"? + +Playing in rhythm refers to the inner life of a composition--to its +musical pulsation. Playing in time means the prompt arrival upon those +points of repose which are conditioned by the rhythm. + +[Sidenote: _The Student Who Cannot Play Fast Music_] + +I find great difficulty in playing anything that goes quick, though in a +more moderate tempo I can play my pieces faultlessly. Every teacher I +had promised to develop my speed, but they all failed. Can you give me +a hint how to overcome my difficulty? + +Quickness of action, of motion, even of resolution, cannot be acquired +by training alone; it must partly be inborn. I assume that your +piano-playing is one phase of a general slowness. There is but one +remedy for that. You have relied upon your teachers to develop your +speed--you should have relied upon your own will-power. Try to will it +and to will it often; you will see the ability keep step with the +exertions of your will. + +[Sidenote: _"Wonder-Children" as Pianists_] + +My child of five years of age shows signs of great talent for music. He +has a keen, true ear, and plays rather well for his age. Does this +justify me in hoping that something out of the ordinary will become of +him? They say that so-called "wonder-children" never amount to anything +in later life. + +That "wonder-children" never amount to anything in later life is not +borne out by history. If some are disappointments it is either because +they astonished by mere executive precocity, instead of charming by +their talent, or because they were ruined by unscrupulous parents or +managers who confounded the promise of a future with its realization. +But, aside from these few, all great musicians were "wonder-children," +whether they became composers, pianists, violinists, 'cellists, or what +not. The biographies of our great masters of the past centuries as well +as those of more recent times (Mendelssohn, Wagner, Chopin, Schumann, +Liszt, Rubinstein, and all the others), will bear me out in this +statement. If your child shows more than mere precocity--if, for +instance, he does not merely play in his fifth year what others play in +their tenth, but shows qualities of musical superiority--then you may +with a fair degree of certainty feel hopeful of a fine musical future +for him. + +[Sidenote: _The Value of Going to Concerts_] + +Shall I attend orchestra concerts or shall I give preference to +soloists? + +By all means attend orchestra and chamber-music concerts! For these will +acquaint you with those works which are, after all, of the greatest +importance to the student. Besides, you will usually hear more correct +interpretations than from soloists. The latter, with some luminous +exceptions, overestimate their own authority and take such unseemly +liberties that in many cases you hear more Smith, Jones, or Levy than +Beethoven, Schumann, or Chopin. Individuality in a soloist is certainly +a great quality, but only if it is tempered by a proper deference to the +composer of the work in hand. If you cannot hear a soloist who is +capable of sinking his individuality in the thought, mood, and style of +the composer he is interpreting--and this is given to only the very +greatest--you do far better to prefer to the "individual" renditions of +a soloist the "collective" renditions of the orchestra or string +quartette. The synthetic nature of the orchestra forestalls the +extravagances of so-called individuality and insures, generally +speaking, a truthful interpretation. The very worst conductor imaginable +cannot do as much harm to a composition as can a mediocre soloist, for +an orchestra is a large body and, therefore, not so easily moved and +shifted from the path of musical rectitude as is a single voice or an +instrument. A really great soloist is, of course, the finest flower of +the garden of applied music, for his touch with the instrument is +immediate and he needs no middleman to express the finest shades of his +conceptions; while the conductor--and even the best--has to impart his +conception (through the baton, facial expression, and gesture) to other +people before it can become audible, and on this circuitous route much +of the original fervour and ardour may be lost. But there are more good +orchestras than great soloists, and hence you are safe in attending +orchestra and chamber-music concerts. + +[Sidenote: _Books That Aid the Student Working Alone_] + +Compelled to study without a teacher for two years before I can go to a +conservatory, what method should I study for my technique and what +pieces? + +You fail to say whether you are a beginner or already somewhat advanced. +Still, I think it safe to recommend Mason's "Touch and Technique," +Sternberg's Etudes, opus 66; and select your pieces from the graded +catalogues which any publisher will be glad to send you. + +[Sidenote: _Music as a Profession or as an Avocation_] + +Would you advise a young man with a good foundation to choose +music--that is, concertizing--as a career, or should he keep his music +as an accomplishment and avocation? + +Your distinguishing between music and concertizing gives direction to my +reply; that the question was not answered by your own heart before you +asked it prompts me to advise music for you as an avocation. The +artist's career nowadays is not so simple as it appears to be. Of a +thousand capable musicians there is, perhaps, one who attains to a +general reputation and fortune. The rest of them, after spending money, +time, and toil, give up in despair, and with an embittered disposition +take up some other occupation. If you do not depend upon public +music-making for a living; if your natural endowments are not of a very +unusually high order, and if your entire personality does not imply the +exercise of authority over assemblages of people--spiritual authority, I +mean--it were better to enjoy your music in the circle of your friends. +It is less risky and will, in all probability, give you much greater +satisfaction. + +[Sidenote: _How Much You Can Get From Music_] + +When I hear a concert pianist I want to get more from his playing than +aesthetic ear enjoyment. Can you give me a little outline of points for +which to look that may help me in my piano study? + +There is no pleasure or enjoyment from which we can derive more than we +bring with us in the way of receptiveness. As you deepen your study of +music and gain insight into its forms, contrapuntal work and harmonic +beauties you will derive more and more pleasure from listening to a good +pianist the deeper your studies go. What their playing reflects of +emotional life you will perceive in the exact measure of your own grasp +upon life. Art is a medium connecting, like a telegraph, two stations: +the sender of a message and the receiver. Both must be pitched equally +high to make the communication perfect. + +[Sidenote: "_It is So Much Easier to Read Flats Than Sharps!_"] + +You would confer a favour upon a teacher by solving a problem for her +that has puzzled her all her life; why do all pupils prefer flats to +sharps? I am not at all sure that I do not, in some degree, share this +preference. Is it a fault of training, or has it any other cause? + +Your question is both original and well justified by frequent +observation, for it is quite true that people prefer to read flats to +sharps. But note it well that the aversion to sharps refers only to the +reading, not to the playing. If any one should find it harder to _play_ +in sharps, say, after knowing the notes well, it would be a purely +subjective deception, due to a mental association of the note-picture +with the respective sounds. My personal belief is that the aversion to +the _reading_ of sharps is caused by the comparative complexity of the +sign itself, and this leads me to think that the whole matter belongs +rather to ophthalmology than to either acoustics or music. + +[Sidenote: _Rubinstein or Liszt--Which the Greater?_] + +As between Liszt and Rubinstein, whom do you consider the greater? + +Rubinstein I knew very well (I was his pupil), and have heard him play a +great many times. Liszt, who died when I was sixteen years old and had +not appeared in public for some twenty years previously, I never met +and never heard. Still, from the descriptions which many of my friends +gave me of him, and from the study of his works, I have been able to +form a fair idea of his playing and his personality. As a virtuoso I +think Liszt stood above Rubinstein, for his playing must have possessed +amazing, dazzling qualities. Rubinstein excelled by his sincerity, by +his demoniacal, Heaven-storming power of great impassionedness, +qualities which with Liszt had passed through the sieve of a superior +education and--if you understand how I mean that term--gentlemanly +elegance. He was, in the highest meaning of the word, a man of the +world; Rubinstein, a world-stormer, with a sovereign disregard for +conventionality and for Mrs. Grundy. The principal difference lay in the +characters of the two. As musicians, with regard to their natural +endowments and ability, they were probably of the same gigantic calibre, +such as we would seek in vain at the present time. + +[Sidenote: _As to One Composer--Excluding All Others_] + +If I am deeply interested in Beethoven's music can I not find in him all +that there is in music, in both an aesthetic and a technical sense? Is +any one's music more profound? + +You imagine yourself in an impenetrable stronghold whence, safe from all +attacks, you may look upon all composers (except Beethoven) with a +patronizing, condescending smile. But you are gravely in error. Life is +too rich in experience, too many-sided in its manifestations, to permit +any one master, however great, to exhaust its interpretation through his +art. If you base your preference for Beethoven upon your sympathies, and +if, for this reason, his music satisfies you better than that of any +other composer, you are to be complimented upon your good taste. But +that gives you no right to contest, for instance, the profoundness of +Bach, the aesthetic charm of Chopin, the wonders of Mozart's art, nor the +many and various merits of your contemporary composers. The least that +one can be charged with who finds the whole of life expressed in any +one composer is one-sidedness, not to speak of the fact that the +understanding cannot be very deep for one master if it is closed to all +others. One of the chief requirements for true connoisseurship is +catholicity of taste. + +[Sidenote: _A Sensible Scheme of Playing for Pleasure_] + +I am fifty-six years old, live in the mountains sixty-five miles from +any railroad, alone with my husband, and I have not taken lessons in +thirty-five years. Do you think "Pischna" would help me much to regain +my former ability to play? If not, what would you advise me to do? + +Refrain from all especially technical work. Since your love of music is +strong enough to cause you to resume your playing you should take as +much pleasure in it as possible and work technically only in the pieces +you play--that is, in those places which offer you difficulties. Decide +upon a comfortable fingering first, and practise the difficult places +separately and slowly until you feel that you can venture to play them +in their appropriate speed. + +[Sidenote: _First Learn to Play Simple Things Well_] + +What pieces would you advise me to memorize after Rachmaninoff's Prelude +in C-sharp minor and Chopin's A-flat Ballade? These pieces do not appeal +to the majority of people, but I enjoy them. + +If such a work as Chopin's Ballade in A-flat does not "appeal to the +majority"--as you say--the fault cannot lie in the composition, but must +be sought in the interpretation. Why not try a few pieces of lesser +complexity and play them so perfectly that they do appeal to the +majority. Try Chopin's Nocturne, opus 27, No. 2; Schumann's Romanza, +opus. 28, No. 2; or his "Traumerei," or some of the more pretentious +"Songs Without Words" by Mendelssohn. + +[Sidenote: _About Starting on a Concert Career_] + +I am twenty-four, have had four years' rigorous work in a conservatory +and a partial college training. My technique is adequate for Brahms's +Rhapsody in G minor and McDowell's Sonatas. I have good health and am +determined not to grow self-satisfied. Is there a place on the concert +stage--even if only as an accompanist--for a woman thus equipped? + +Any public career must begin by earning the good opinion of others. +One's own opinion, however just, is never a criterion. My advice is that +you speak to some of the prominent concert agents, whose names and +addresses you find in every well-accredited music paper. Play for them. +They are usually not connoisseurs by actual knowledge, but they have +developed a fine instinct for that which is of use to them, and you are, +of course, aware that we must be of use to others before we can be of +use to ourselves. If the right "stuff" is in you you will make your way. +People of ability always do. That there is room for women on the concert +stage is proved by the great array of meritorious women pianists. +Especially for accompanying women are in demand--that is, for _good_ +accompanying. But I would not start out with the idea of accompanying. +It seems like going to a commercial school to study be to an "assistant" +bookkeeper. Become a fine, all-round musician, a fine pianist, and see +what the tide of affairs will bring you. The proper level for your +ability is bound to disclose itself to you. + +[Sidenote: _Accompanist Usually Precedes Soloist at Entering_] + +Should an accompanist precede or follow the soloist on the stage in a +concert or recital, and should sex be considered in the matter? + +If the soloist be a man the accompanist should precede him on the stage +in order to arrange his music, the height of his seat or whatever may be +necessary, during which time the soloist salutes the audience. For these +reasons it should be the same when the soloist is a woman, but as women +are of the feminine persuasion it will, perhaps, look better if the +accompanist yields precedence to her. + + + + +ALPHABETICAL INDEX OF +QUESTIONS + + + PAGE + + About Starting On a Concert Career 162 + + Accenting a Mordent in a Sonata 70 + + Accompanist Usually Precedes Soloist at Entering 164 + + Action of a Beginner's Piano, The 87 + + Action of the Little Finger, The 17 + + Advantage of Legato over Staccato, The 22 + + Affected Movements at the Piano 126 + + "Afraid to Play Before People" 121 + + Age of the Student is Immaterial 139 + + Always Keep in Touch With Bach 81 + + Art of Accompanying a Soloist, The 118 + + Art of Playing With Feeling, The 124 + + As to one Composer--Excluding All Others 160 + + As to Playing Rubato 100 + + As to the Bach Fugues 88 + + + Bach's Music Necessary to Good Technique 80 + + Bach's Preludes and Fugues 82 + + Beethoven Sonata with a Pastoral Character, The 84 + + Beginner in Bach Music, The 80 + + Best Physical Exercise for the Pianist, The 181 + + Best Way to Improve Sight-Reading, The 117 + + Best Way to Work Up a Quick Tempo, The 54 + + Better Not Give the Child "Modified Classics" 148 + + Biting the Finger-Nails Spoils the Touch 19 + + Books that Aid the Student Working Alone 155 + + Broad-Tipped Fingers Not a Disadvantage 20 + + + C-Scale Fingering for All Scales, The 28 + + Can Music be Studied in America? 148 + + Cantabile Passages 7 + + Charm of Chopin's Touch, The 86 + + Chopin's Barcarolle 88 + + Chopin's Works for a Popular Concert 88 + + "Colour" of Various Keys, The 187 + + Company that One Keeps in Music, The 188 + + Composition Must Fit the Player, The 130 + + Conditions Which Dictate Speed in Playing, The 53 + + Counting Out Loud 50 + + + Difference Between Conception and Rubato, The 102 + + Difference Between "Finger Staccato" and Other + Kinds, The 22 + + Difference Between Major and Minor Scales, The 109 + + Difference in Playing Trills, The 74 + + Different Conceptions May be Individually + Correct 102 + + Difficulty of Playing Repetition Notes, The 34 + + Disputed Chopin Reading, A 78 + + Do not Allow the Wrist to Get Stiff 10 + + Do not Injure the Hand by Stretching It 13 + + Do not Over-Use the Soft Pedal 44 + + Do not Raise the Piano-Stool too High 4 + + Do not Raise Wrist in Marking a Rest 99 + + Do not Stiffen the Hands in Playing Scales 9 + + Do not Use a Piano Extreme in "Action" 36 + + Double Sharp Misprinted for Double Flat 65 + + + E Sharp and B Sharp and the Double Flat 64 + + Easiest Way to Memorize, The 113 + + Effect of Double Flats, The 65 + + Effect of Playing the Same Piece Often, The 122 + + Either Trust Your Teacher or Get a New One 146 + + Etudes for Advanced Players to Work At 94 + + Exercises for the Beginner to Practise 93 + + + Fatiguing the Hand by Stretching 12 + + Few Sonatas of Beethoven, Well Played, + Are Enough, A 85 + + Fingering the Chromatic Scale 28 + + Fingers Needed to Play a Mordent, The 28 + + Firm and Crisp Legato Touch, The 24 + + First Learn to Play Simple Things Well 162 + + Four Ways to Study a Piano Piece 52 + + Fourth and Fifth Fingers, The 16 + + Frequent Lessons and Shorter 147 + + + General Rule About the Pedal, A 39 + + Genuine Piano Hand, The 130 + + Give Your Teacher a Fair Trial 145 + + Good Finger Exercises 93 + + Good Intermediate Books of Etudes 94 + + Greatest Composers as Pianists, The 91 + + + Hearing a Piece Before Studying It 104 + + Height of the Piano Seat, The 5 + + Horseback Riding Stiffens the Fingers 132 + + How a Tie and a Slur Differ 63 + + How Are Syncopated Notes to be Played? 71 + + How Best to Play the Octaves 29 + + How Grace Notes Are Played 61 + + How Long an Accidental Affects a Note 64 + + How Much You Can Get from Music 157 + + How Organ Playing Affects the Pianist 26 + + How Tight to Keep the Piano's Action 37 + + How to Get Music Published 150 + + How to Hold the Thumb 16 + + How to Improve the Technique 4 + + How to Play Passages Marked "Rubato" 100 + + How to Use the Pedal 39 + + How Waltz, Menuet, Mazurka and Polonaise Differ 111 + + + Importance of Studying With the Right Teacher, + The 140 + + Incorrect Position of the Fingers, An 8 + + Individual Teacher or Conservatory? 142 + + In Order to Memorize Easily 115 + + In Playing a Sonata 75 + + "International" Piano Pitch, The 136 + + International Pitch, The 136 + + Is the Piano the Hardest to Master? 127 + + "It is So Much Easier to Read Flats Than + Sharps!" 157 + + + Kind of Piano Upon Which to Practise, The 35 + + Kullak's "Method of Octaves" Still Good 34 + + + Learning the Art of Accompanying 118 + + Learning to Accompany at Sight 117 + + Learning to Modulate 107 + + Let Your Ear Guide Your Pedalling 41 + + Loose Wrist, The 9 + + + Masters Cannot be Studied In Order 90 + + Meaning and Use of "Motif," The 68 + + Meaning of Solfeggio, The 74 + + Meaning of "Toccata," The 111 + + Memorizing Quickly and Forgetting as Readily 115 + + Metronome Markings, The 57 + + Metronome Markings May Better be Ignored 59 + + Modern Piano Music 92 + + Mood and Tempo in the A Flat Impromptu 87 + + More Technique the More Practice, The 3 + + Morning is the Best Time to Practise 46 + + Morning Practice on the Piano, The 45 + + Music as a Profession or as an Avocation 156 + + Music Schools and Private Teachers 141 + + + No Necessity to Watch the Fingers 19 + + Not Playing the Two Hands at Once 25 + + Nothing But the Best Will Do 141 + + Number of Lessons Depends on Progress, The 147 + + + Old Problem of Duple Time against Triple, The 98 + + Omitting One Note in a Chord 89 + + Once More the "Soft" Pedal 44 + + One Lesson a Week 147 + + Only Kind of Practice Worth While, The 47 + + Order of Studying Beethoven's Sonatas 83 + + Organ Playing and the Piano Touch 26 + + Organizing a Musical Club 150 + + + Perfect Rubato the Result of Momentary Impulse 101 + + Personal Element and the Metronome, The 58 + + Pianist Who Fails to Express Herself, The 123 + + Piano Study for Conductor and Composer 128 + + Play Chords With a Loose Arm 11 + + Playing Duple Time Against Triple 96 + + Playing from Memory is Indispensable 112 + + "Playing in Time" and "Playing in Rhythm" 151 + + Playing of Double Thirds, The 35 + + Playing of Slurred Notes, The 62 + + Playing On a Dumb Piano 38 + + Playing the "Melody in F" 79 + + Playing the "Spring Song" too Fast 77 + + Playing with Cold Hands 49 + + Point in Playing the "Moonlight Sonata," A 76 + + Position of Auxiliary Note in a Trill 72 + + Position of the Turn over a Note, The 71 + + Position of the Wrist, The 10 + + Practising Eight Hours Instead of Four 48 + + Practising the Two Parts Separately 52 + + Premature Fatigue in the Arms 33 + + Problem of Transposing at Sight, The 119 + + Proper Course for a Little Girl, The 146 + + + Rapid Octaves 30 + + Real Meaning of Speed Terms, The 60 + + Relation of Harmony to Piano Playing, The 105 + + Rests Used under or over Notes 62 + + Results Count, Not the Methods, The 6 + + Rolled Chord Marked "Secco," A 70 + + Rubinstein or Liszt--Which is the Greater? 158 + + Rule for Selecting the Speed, A 60 + + + Safe Way of Stretching the Small Hand, A 13 + + Sensible Scheme of Playing for Pleasure, A 161 + + Sex of the Piano Teacher, The 143 + + Should Piano Students Try to Compose? 108 + + Slurs and Accents Not Related 63 + + Small Notes under Large Ones 70 + + Some Pieces for a Girl of Fourteen 75 + + Speed and Smoothness in Trilling 73 + + Staffs are Independent of Each Other, The 66 + + Starting a Child's Musical Training 138 + + Stiff Wrists in Playing Octaves 33 + + Student Who Cannot Play Fast Music, The 151 + + Student Who Wants to Compose, The 108 + + Student with a Fondness for the Pedal, The 42 + + Study of Mendelssohn, The 85 + + Study of Operatic Transcriptions, The 91 + + Study of the Scales, The 51 + + Study of the Scales is very Important, The 50 + + Studying Counterpoint by One's Self 107 + + + Take a Month's Rest Every Year 56 + + Taking Liberties With the Tempo 89 + + "Tenuto" Dash and Its Effect, The 69 + + Text-books on Harmony 106 + + There Are Dangers in Using a Metronome 59 + + There Is Only One Minor Scale 109 + + Tied Staccato Notes 69 + + Tilt of the Hand in Playing Scales, The 6 + + Time to Devote to Technical Exercises 47 + + To Gain Facility in Sight-Reading 117 + + To Keep Errors from Creeping in 116 + + To Play a Glissando Passage 29 + + To Prevent Sore Finger-tips After Playing 20 + + To Produce a Softer Tone 43 + + To Produce Good Legato 23 + + To Strengthen the Weak Finger, Use It 18 + + To Work up a Fast Tempo 53 + + Too Much "Method" 144 + + Trill Begins on the Melodic Note, A 72 + + Twenty-five Not Too Late to Begin 139 + + Two Hands Playing Difficult Rhythms, The 97 + + + Universal System of Marking Fingering, The 27 + + Use of the Pedal for Colouring, The 39 + + Use Pedal With Caution In Playing Bach 41 + + Using the Two Pedals at Once 48 + + + Value of Clementi's "Gradus" To-day, The 95 + + Value and Correct Practice of Phrasing, The 98 + + Value of Going to Concerts, The 153 + + Value of Heller's Studies, The 93 + + + Watch Your Breathing 55 + + Weak Fingers of the Left Hand, The 18 + + Well-Tempered Piano Scale, The 137 + + What a Dot May Mean 77 + + What a Double Dot Means 62 + + What Does "Technique" Mean? 3 + + What Is the Best of Chopin? 86 + + What Is the Difference Between the Major and + Minor Scales? 110 + + "What Is the Matter with My Scales?" 14 + + What the Leschetizky Method Is 144 + + What the Object of Study Should Be 135 + + What to Do with an Unemployed Hand 21 + + When an Accidental Is in Parentheses 66 + + When Playing Octaves 31 + + When Reading Over a New Piece 51 + + When the Fingers Seem Weak 18 + + When to Keep Away from the Piano 132 + + When to Play for People 120 + + When Tremolo Proves Unduly Fatiguing 11 + + When Two Fingers Have the Same Note 79 + + Where Outside Criticism Is Desirable 143 + + Where the Accent Should Be Placed 78 + + Which Fingers Demand Most Attention? 16 + + Which Should Come First--Conception or + Technique? 103 + + Why Rag-time Is Injurious 134 + + Why So Many Different Keys? 105 + + Why the Pianist Should Study Harmony 104 + + Why the Piano Is So Popular 128 + + Why Two Names for the "Same" Key? 67 + + "Wonder Children" as Pianists 152 + + Wrist Staccato at a High Tempo 21 + + Wrist Stroke In Long Octave Passages 32 + + + + +INDEX + + +A flat, key of, 67. + Impromptu in, 78, 87. + Chopin's Ballade in, 162. + +A sharp, key of, 67. + difference between, and B flat, 137. + +Accent, where the, should be placed, 78. + +Accenting a mordent, 70. + +Accents, slurs and, not related, 68. + +Accidental, how long an, affects a note, 64. + when an, is in parentheses, 66. + +Accompaniment, 118. + +Accompaniments, in left-hand waltz, 17. + +Accompanist, 118, 119, 164. + +Accompanying, at sight, 117. + a soloist, 118. + the art of, 118. + +Action, of the wrist, 9. + of the arm, 11. + of the little finger, 17. + a piano extreme in, 36. + how tight to keep the piano's, 37. + of a beginner's piano, 37. + a too heavy, 38. + too light an, 38. + +Adagio, 60. + +Advantage, of legato over staccato, 22. + of universal fingering, 27. + +Affected movements at the piano, 126. + +Age, and physical development of the beginner, 138, 139. + +Age of the student, immaterial, 139. + +Aid, books that, the student working alone, 155. + +Allegretto grazioso, 77. + +Allegro, 60. + +America, can music be studied in, 148. + +"American" fingering, 27. + +Andante, 60. + +Appassionata, the last movement of the, 76. + +Appoggiatura, 72. + +Arm, action of the, 11. + play chords with a loose, 11. + +Arms, premature fatigue in the, 33. + +Arpeggio, 3, 9. + +Art, of accompanying, the, 118. + the canons of, 125. + +Attention, which fingers demand most, 16. + +Auber, 136. + +Auxiliary, position of, note in a trill, 72. + +Average, speed, 59. + tempo, 60. + +Avocation, music as a profession or as an, 156. + + +B flat minor, Chopin's Prelude in, 95. + +B sharp, 64, 65. + +Bach, use pedal with caution in playing, 41. + the beginner in, music, 80. + in touch with, 81. + +Bach, Philipp Emanuel, 88. + +Bach's, music, 80, 81. + preludes, 67, 82. + fugues, 67, 82, 83. + +Bad music, 183. + +Baermann, Carl, 94. + +Ballade, Chopin's, in A flat, 102. + +Baltzell, "History of Music," by, 150. + +Barcarolle, Chopin's, 88. + +Beethoven, the sonatas of, 83, 85. + +Beethoven's Sonatina, opus 49, 59. + Fifth Symphony, 69. + Sonata Pathetique, 70. + "Moonlight Sonata," 76. + sonatas, 83. + order of studying, sonatas, 83. + Sonata, opus 28, 84. + style, 85. + first and last sonatas, 90. + +Beginner's, the action of a, piano, 37. + +Bendel's "Zephyr," 53. + +Berceuse, Chopin's, opus 57, 86. + +Berens, 95, 143. + +Berlin, 118. + +Berlioz, 91, 136. + +Best, how to play the octaves, 29. + morning is the, time to + practise, 46. + way to work up a quick tempo, 54. + what is the, of Chopin, 86. + the, book of instruction for a beginner, 93. + the, way to improve sight-reading, 117. + the, piano hand, 130. + the, physical exercise for the pianist, 131. + nothing but the, will do, 141. + +Biting the finger-nails, 19. + +Blumenstuck, Schumann's, 79. + +"Blurring," 23. + +Body, general position of the, 4. + +Books, of Etudes, 93, 94. + that aid the student working alone, 155. + +Brahms, 162. + +Breathing, 55. + +Broad-tipped fingers, 20. + +Bulow, 17. + +Buessler, 106. + + +C flat, 67. + +C sharp, key of, 67. + +C sharp major, Bach's fugue in, 83. + +C sharp minor movement, the, 58. + +Cantabile passages, 7. + +Cantata, 112. + +Chaminade, Toccata by, 111. + +Chaminade's "Air de Ballet," No. 1, 70. + +Chopin, Polonaise, opus 53, 74. + a disputed, reading, 78. + Life of, 86. + the best of, 86. + Etude by, 94. + Etudes in C minor, 95. + +Chopin's works, 23, 79. + Prelude, No. 15, 58. + Valse, opus 42, 61. + Polonaise, opus 58, 74. + Polonaise, opus 26, No. 1, 77. + Nocturne in F sharp, 78. + Impromptu in A flat, opus 29, 78, 87. + charm of, touch, 86. + Chants Polonais, 88. + Fantasy Impromptu, 88, 97. + Barcarolle, 88. + Nocturne, opus 27, No. 2, 88, 162. + +Chopin's works for a popular concert, 88. + Ballade in A flat, 162. + +Chord, rolled, marked "secco," 70. + in the Waltz in E minor, 89. + +Chords, play, with a loose arm, 11. + +Chromatic, + the, scale 28. + thirds, 35. + accidental, signs, 66, 67. + +Classics, "modified," 148. + +Clementi, 81. + +Clementi's "Gradus ad Parnassum," 95. + Sonatina, opus 37, 96. + +"Colour," of various keys, 137. + +Colouring, 39, 44, 137. + +Composer, piano-study for, 128. + as to one, 160. + +Composers, the greatest, as pianists, 91. + +Composition, 108, 130. + +Conception, difference between, and rubato, 102. + +Conceptions, different, 102. + +Concert, Chopin's works for a popular, 88. + etudes, 94. + work, 156. + career, 162. + +Concerto, the Grieg, 35. + +Concerts, the value of going to, 153. + +Conservatory, individual teacher or, 142. + +Conductor, piano-study for, 128. + +Correct practice of phrasing, 98. + +Counterpoint, studying, 107, 142. + +Cramer Etudes, the, 17, 45. + +C-scale fingering, 28. + +Counterpoint, studying, by one's self, 107. + +Counting, 50. + +Course, proper, for a little girl, 146. + +Criticism, where outside, is desirable, 143. + +Curved fingers, 6, 7. + +Czerny, 45, 81. + + +D flat, key of, 67. + arrangement of Bach's Fugues, 83. + +Damper pedal, the, 43. + +Dance, music, 134. + Liszt's, of the Gnomes, 58. + +Dangers in using a metronome, 59. + +Dash, "tenuto," and its effect, 69. + +Diatonic, thirds, 35. + sequel, 73. + +Different, conceptions, 102. + rhythms, 97. + keys, 105. + +Difference, between "finger staccato" and other kinds, 22. + in playing trills, 74. + between conception and rubato, 102. + between major and minor scales, 109. + +Difficulty of playing repetition notes, 34. + +Doppio movement, in Chopin's Nocturne in F sharp, 78. + +Dot, double, 62. + what a, may mean, 77. + +Double notes, 35. + thirds, 35. + dot, 62. + flat, 64, 65. + flats, 65. + sharp, 65. + +Dumb piano, playing on a 38. + +Duple time, 96, 98. + + +E minor, Waltz in, 89. + +E sharp, 64. + +Ear, let your, guide your pedalling, 41. + +Easiest way to memorize, 113. + +Edition, Peters's, of Chopin, 79. + +Edition, Steingraeber, of Beethoven, 84. + +Education, general musical, 141. + +Element, personal, and the metronome, 58. + +"English" fingering, 27. + +Erlking, Liszt arrangement of the, 32. + +Errors, to keep, from creeping in, 116. + +Ethical, 135. + +Etudes, Cramer, 17, 45. + octave, 30. + for advanced players, 94. + good intermediate books of, 94. + by Ruthardt, 94. + twelve, for technique and expression, 94. + concert, 94. + by Baermann, 94. + of Chopin, 95. + by Kessler, 95. + by Berens, 95, 143. + by Heller, 143. + Sternberg's, 155. + +Example, force of, 104. + +Exercise, best physical, 131. + +Exercises, stretching, 12, 13. + technical, 47. + for the beginner, 93. + good finger, 93. + + +F, Melody in, 79. + +F minor, Chopin's Ballades in, 86. + +F sharp, key of, 67. + Chopin's Nocturne in, 78. + +Fantastic Fairy Tales, 92. + +Fantasy Impromptu, Chopin's, 88, 97. + +Fatigue, premature, in the arms, 33. + +Faulty touch, 8, 43. + +Fifth Symphony, Beethoven's, 69. + +Finger, the middle, 16. + technique, 16. + the little, 17. + the weak, 18. + touch, 19. + staccato, 22. + exercises, 93. + +Fingering, English, 27. + universal, 27. + American, 27. + the chromatic scale, 28. + C-scale, 28. + +Finger-nails, biting the, 19. + +Fingers, position of, 6. + the other, 16. + fourth and fifth, 16. + weak, 18. + broad-tipped, 20. + needed to play a mordent, 28. + +Finger-stroke, high, 7, 23, 24. + +Finger-tips, sore, 20. + "wiping" the keys with the, 35. + +Firm legato touch, 24. + +Flat, double, 65. + +Flats, double, 65. + +Fugue, definition of a, 82. + +Fugues, Bach's, 82. + + +G flat, key of, 67. + +G minor, + Chopin's Ballade in, 86. + Brahms's Rhapsody in, 162. + +Gavotte in A, the, 44. + +General, technique, 3. + rule about the pedal, 39. + musical education, 141. + +Glissando, the, 29. + to play a, passage, 29. + +Gluck-Brahms, 44. + +Godowsky, transcriptions by, 23. + +Godowsky's pupils, 149. + +Going to concerts, value of, 158. + +Grace notes, 61. + +"Gradus ad Parnassum," Clementi's, 95. + +Grieg Concerto, the, 35. + + +Halevy, 136. + +Hand, position of, 6. + stretching the, 12. + small, 13. + unemployed, the, 21. + genuine piano, 130. + +Hands, two at once, 25. + playing with cold, 49. + +Harmonic, clarity, 41. + turns, 105. + +Harmony, study of, 104. + relation of, to piano-playing, 105. + textbooks on, 106. + +Haydn, 75. + +Heller, etudes by, 143. + +Heller's studies, value of, 93. + opus 154, 94. + +"History of Music," 150. + + +Importance of the right teacher, 140. + +Impromptu, Chopin's, in A flat, 78. + Chopin's Fantasy, opus 66, 88, 97. + +Instrument, the, 35. + +Intermediate, good, books of etudes, 94. + +International piano pitch, 136. + +International pitch, 136. + + +Key, two names for the same, 67. + +Keys, why so many different, 105. + "colour" of various, 187. + +Kuhlau Sonatinas, 75. + +Kullak's, Octave School, 31. + "Method of Octaves," 34. + + +Learning, to modulate, 107. + to accompany at sight, 117. + the art of accompanying, 118. + +Legato, 22, 23. + advantage of, 22. + touch, 24. + meaning of, 24. + +Leschetizky method, the, 144. + +Lessons, teachers, and methods, 140. + number of, depends on progress, 147. + frequent, and shorter, 147. + +Liadow, "Music Box" by, 92. + +"Life of Chopin," the, 86. + +"Limping," 25. + +Liszt, 130, 158. + +Liszt's, Dance of the Gnomes, 58. + transcription of Chants Polonais, 88. + +Little finger, action of the, 17. + +Loud counting, 50. + + +MacDowell, Sonatas, 162. + +Major, difference between, and minor scales, 109, 110. + +Marking a rest, in, 99. + +Marks and Nomenclature, 57. + +Mason's "Touch and Technique", 155. + +Masters cannot be studied in order, 90. + +Mazurka, 111. + +Mazurkas, Chopin's, 86. + +Melody in F, the, 79. + +Memorize, easiest way to, 113. + in order to, easily, 115. + +Memory, playing from, 112. + the, 112. + +Mendelssohn, the study of, 85. + +Mendelssohn's "Spring Song," 77. + +Menuet, 111. + +Method, too much, 144. + Leschetizky, 144. + +Methods, teachers, lessons and, 140. + +Metronome, markings, 57, 59. + personal element and the, 58. + dangers in using a, 59. + +Meyerbeer, 136. + +Minor, difference between major and, scales, 109. + only one, scale, 109. + +Miscellaneous questions, 150. + +"Modified Classics," 148. + +Modulate, learning to, 107. + +Mood and tempo in the A flat Impromptu, 87. + +"Moonlight Sonata," the, 76. + +Mordent, fingers needed to play a, 28. + accenting a, in a sonata, 70. + +Morning practice on the piano, 45. + +Moscheles, Etudes by, 94. + +Motif, meaning and use of, 68. + +"Moto perpetuo," 112. + +Mozart, 46, 75. + +Mozart's art, 160. + +Music, the beginner in Bach, 80. + modern piano, 92. + bad, 133. + the company that one keeps in, 133. + can, be studied in America, 148. + how to get, published, 150. + as a profession, 156. + how much you can get from, 157. + +"Music Box," the, 92. + +Music schools and private teachers, 141. + + +Nocturne, Chopin's, in F sharp, 78. + opus 27, No. 2, 88, 162. + +Nocturnes, Chopin's, 86. + +Nomenclature, marks and, 57. + +Note, auxiliary, 72. + when two fingers have the same, 79. + +Notes repetition, 34. + double, 35. + slurred, 62. + tied staccato, 69. + small, under large ones, 70. + syncopated, 71. + + +Object of study, 135. + +Octave, chords, 11. + Kullak's, School, 31. + in extended, playing, 32. + passages, 32. + +Octaves, 29. + rapid, 30. + when playing, 31. + wrist, 31, 32. + arm, 31. + stiff wrists in playing, 33. + +Operatic transcriptions, 91. + +Order of studying Beethoven's Sonatas, 83. + +Other fingers, the, 16. + +Organ, touch, 26. + playing, 26. + + +Pachulski, 92. + +Pedal, a general rule about the, 39. + how to use the, 39. + use of the, for colouring, 39. + use, with caution in playing Bach, 41. + the "soft," 43, 44. + a constant use of the soft, 45. + +Pedalling, let your ear guide your, 41. + +Pedals, the, 39. + using the two, at once, 43. + +"Perpetuum Mobile," Weber's, 112. + +Peters's Edition, 79, 82. + +Phrasing, value and correct practice of, 98. + +Physical exercise, best, for the pianist, 131. + +Pianists, the greatest composers as, 91. + "wonder-children" as, 152. + +_Pianissimo_ touch, the, 44. + +Piano, height of the, seat, 5. + touch, 26. + kind of, upon which to practise, 35. + extreme in action, 36. + action of a beginner's, 37. + playing on a dumb, 38. + affected movements at the, 126. + about the, per se, 127. + genuine, hand, 130. + when to keep away from the, 132. + +"Piano Playing," 35. + +"Pischna," exercises of, 93, 161. + +Pitch, international, 136. + +Pitch and kindred matters, 136. + international piano, 136. + +Play for people, when to, 120. + +Playing for pleasure, 161. + +Polonaise, Chopin, opus 53, 74. + Chopin, opus 26, No. 1, 77. + +Polonaises, Chopin's, 86. + +Polyrhythms, 96. + +Popular concert, Chopin's works for a, 88. + +Position, of the body, 4. + of the hand, 6. + of the fingers, 6, 8. + of the wrist, 10. + of the thumb, 16. + of the turn over a note, 71. + of auxiliary note in a trill, 72. + +Practice, morning, on the piano, 45. + the only kind of, worth while, 47. + of phrasing, 98. + of constructing, 108. + +Practise, kind of a piano upon which to, 35. + exercises for the beginner to, 93. + +Practising, eight hours instead of four, 48. + the two parts separately, 52. + +Precision, 25. + +Prelude, the B flat minor, 95. + in C sharp minor, 162 + +Preludes, Bach's, 82. + Chopin's, 86. + +Private teachers, 141. + +Profession, music as a, 156. + + +Rachmaninoff's Prelude in C sharp minor, 162. + +Rag-time, why, is injurious, 134. + +Repetition, technique, 34. + notes, 34. + +Rests used under or over notes, 62. + +Rhapsody, Brahms's, in G minor, 162. + +Rhythm, accents relate to, 62. + playing in, 151. + +Richter, E. F., 106. + +Romanza, Schumann's, 162. + +Rossini, 136. + +Rubato, as to playing, 100. + passages marked, 100. + difference between conception and, 102. + +Rubinstein, 158. + +Rubinstein's "Melody in F," 79. + +Russian piano music, 53. + +Ruthardt, "Etudes" by, 94. + + +Scale, fingering the chromatic, 28. + only one minor, 109. + the well-tempered piano, 137. + +Scale playing, in, 16. + +Scales, tilt of the hand in playing the, 6. + the practising of, 14, 51. + the study of the, 50, 51. + +Scherzo, Chopin's, opus 31, 88. + +Schubert-Liszt's "Auf dem Wasser zu singern," 53. + +Schumann's "Blumenstuck," 79. + Romanza, opus 28, No. 2, 162. + "Traumerei," 162. + +"Secco," a rolled chord marked, 70. + +Seeling, Hans, 94. + +Sex of the teacher, 143. + +Sight-reading, 117. + +Slur, how a tie and a, differ, 63. + +Slurred notes, the playing of, 62. + +Slurs, 63. + +Smith's Octave Studies, 143. + +Solfeggio, meaning of, 74. + +Soloist, 118, 164. + +Sonata, accenting a mordent in a, 70. + in playing a, 75. + Moonlight, 76. + Beethoven, with a pastoral character, 84. + meaning of, 112. + +Sonatina, Beethoven's, 59. + +Sonatas of Beethoven, the, 83, 85. + +"Songs without Words," Mendelssohn's, 86, 162. + +Speed, gradual increase of, 54. + average, 59. + meaning of, terms, 60. + rule for selecting the, 60. + and smoothness in trilling, 73. + +"Spring Song," the, 77. + +Staccato, wrist, at a high tempo, 21. + finger, 22. + arm, 22. + +Staffs, the, 66. + +Starting, about, on a concert career, 162. + +Steingraeber Edition of Beethoven's Sonatas, 84. + +Sternberg's Etudes, opus 66, 155. + +Stretching, 12, 13. + +Student, age of, immaterial, 139. + books that aid the, working alone, 155. + +Students, piano, 108. + +Studies, Heller's, 93. + +Study, object of, 135. + +Studying, importance of, with the right teacher, 140. + +Syncopated notes, 71. + +System, universal, of fingering, 27. + + +Teachers, lessons, and methods, 140. + +Technical, exercises, 47. + work, 18, 45, 46. + studies, 46. + results, 48. + +Technique, a generic term, 3. + how to improve the, 4. + a precise finger, 16. + of the fingers, 22. + repetition, 34. + a "musical," 38. + +Tempo, wrist staccato at a high, 21. + to work up a fast, 53, 54. + average, 60. + in the A flat Impromptu, 87. + taking liberties with the, 89. + rubato, 100, 101. + +"Tenuto" dash, the, 69. + +Textbooks on harmony, 106. + +Thalberg, 91, 92. + +Theory, 104. + +Thirds, double, 35. + diatonic, 35. + chromatic, 35. + +Thomas, Ambroise, 136. + +Thumb, the, 14. + how to hold the, 16. + +Tie, a, 63. + +Time, duple, against triple, 96, 98. + playing in, 151. + +Toccata, meaning of, 111. + +Touch, faulty, 8, 43. + finger, 19, 50. + biting the finger-nails spoils the, 19. + legato, 24, 63. + crisp legato, 24. + piano, 26. + organ, 26. + repetition, 34. + charm of Chopin's, 86. + and Technique, 155. + +Training, a child's musical, 138. + +Transcriptions, study of operatic, 91. + +Transposing at sight, 119. + +Tremolo, 11. + +Trill, position of auxiliary note in a, 72. + +Trills, on the melodic note, 72. + extended, 72. + difference in playing, 74. + +Triple time, 96, 98. + +"Twelve Etudes for Technique and Expression," 94. + + +Universal system of marking fingering, 27. + + +Valse, Chopin's, opus 42, 61. + opus 64, No. 2, 88. + + +Waltz, a chord in the, in E minor, 89. + +Waltzes, Chopin's, 86. + +Weak fingers, 18. + +Weber's "Storm," 41. + pianos of, time, 41. + "Perpetuum Mobile," 112. + +"Wonder-children" as pianists, 152. + +Wrist, action of the, 9. + the loose, 9. + position of the, 10. + stiffness in the, 10. + octaves, 31, 32. + stroke in long octave passages, 32. + + + + + * * * * * + + + + +Transcriber's note: + +Punctuation has been made consistent. + +Other changes: + +Page iv and Index--'POLYRYTHMS' changed to 'POLYRHYTHMS.' + +Page xi--'As a matter _or_ course' changed to 'As a matter _of_ course.' + +Page 12--'I stretch _beween_ my fingers' changed to 'I stretch +_between_ my fingers.' + +Page 43--'expresson' changed to 'expression.' + +Page 47--'_ti_ would take considerable time' changed to '_it_ would take +considerable time.' + +Page 50--'rhymthic' changed to 'rhythmic.' + +Page 78--'Doggio' changed to 'Doppio.' + +Page 93--'_or_ which one is abridged' changed to '_of_ which one is +abridged.' + +Page 123--'feel _they that_ do not care for my playing' changed to 'feel +_that they_ do not care for my playing.' + +Page 140--'be be' changed to 'be.' + +Page 158--'Rubenstein' changed to 'Rubinstein.' + +Index--'F major, key of, [no page #]' removed. + +Index--'Gradus and Parnassum' corrected to 'Gradus ad Parnassum.' + +Index--'Hadyn' corrected to 'Haydn.' + + + +***END OF THE PROJECT GUTENBERG EBOOK PIANO PLAYING*** + + +******* This file should be named 39211.txt or 39211.zip ******* + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/3/9/2/1/39211 + + + +Updated editions will replace the previous one--the old 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