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PIANO
WITH
QUESTIONS
PIANO
ANSWERED
BY
JOSEF
HOFMANN
PHILADELPHIA
THEODORE
PRESSER
1920
CO.
PLAYING
PIANO
LITTLE
BOOK
SIMPLE
OF
SUGGESTIONS
BY
JOSEF
HOFMANN
ILLUSTRATED
PHILADELPHIA
THEODORE
PRESSER
1920
CO.
UNIVERSITY OF TORONTO
OF
FACULTY
LIBRARY
Curtis
Publishing Company
IN
Theo.
THE
Presser
U.
S.
A.
"
Co.
Co.
TO
MY
DEAR
FRIEND
CONSTANTIN
VON
STERNBERG
CONTENTS
PACK
FOEEWOED
THE
yj|
PIANO
ITS
AND
GENERAL
PLAYEB
RULES
COEEECT
J9
TOUCH
TECHNIO
AND
THE
USE
OF
PLAYING
How
"!N
34
PEDAL
41
THE
STYLE"
49
RUBINSTEIN
TAUGHT
ME
TO
INDISPENSABLES
IN
PIANISTIC
SUCCESS
PLAY
57
70
ILLUSTRATIONS
OF
LIST
Frontispiece
Hofmcmn
Josef
FACING
PAQK
The
Position
Incorrect
Correct
Incorrect
Correct
Incorrect
Correct
Incorrect
Correct
Anton
How
the
of
Way
Way
Play
to
to
Hand
Position
Position
Position
Position
Position
Little
the
Finger
Finger
38
Thumb
the
the
38
Feet
Feet,
42
on
the
Rubinstein
Rubinstein
36
36
Thumb
of
of
28
Little
the
of
of
28
Octave
an
of
of
Octave
an
Play
Position
20
Pedal
42
57
Taught
Me
to
Play
60
FOREWORD
little book
THIS
view
general
and
the
of
such
years
of
It
which
is, of
here
in
of
"
that
refinement
the
of
psychic
the
activity has
the
that
be
aims
plainly
of
depends
to
convey
upon
to
has, consciously
of
literary form
the
lines.
That
piano-playing
and
to
stated
must,
vii
terial
ma-
dealt
duce
reproin
the
other, very
piano-playing,
sensibility,and
between
can
composition. The
indeed,
of
side
is
part
composer
hidden
in
what
endeavours
and
in
of
as
concrete,
part of it which
tones
and,
the
piano-playing
subtler
upon
only
course,
printed lines
much
sults
re-
made
well
as
public
my
the
have
as
piano-playing
students
young
studies,
own
my
present
me.
side
with
to
observations
experiences
brought
artistic
of
offer
to
to
purposes
draws
imagination,
spiritual vision,
an
or
audience
what
unconsciously,
almost
eludes
entirely
treatment
therefore,
not
be
FOREWORD
looked
to dwell
amiss, however,
elusive
of
matters
from
show
how
the
material
these
conception,
apart they
completelyacquiredby
he will
upon
far
be
not
technic.
When
been
moment
aesthetics and
though it be only to
are
It may
see
limitless vista
the
him, disclosing
In
the
piano student,
opening up before
vast
is
largelyof
learn to
The
spiritual
eye
is what
they speak
which
is at
of
it is
as
musicians
"
have
reading between
in mind
thing
some-
when
the lines
"
"
the most
once
difficult task
of the
just between
and most
fascinating
artist;for,
interpretative
viii
work
FOREWORD
rectly,
play them corto
is stillvery far from doing justice
the life and soul of an artistic composition.
I should like to reiterate at this point two
which I used in the second paragraph:
words
A
the words
consciouslyor unconsciously."
den.
To
even
to
"
brief comment
observations
to
the matter
upon
especiallyas
toward
which
of
am
lead
upon
may
throw
light
"
unconscious
"
side of
the alternative.
I believe that every
composer
of talent
(not
of creative
speak of genius) in his moments
signs
fever has given birth to thoughts,ideas, dethat lay altogether
beyond the reach of
to
control. In
speaking of
the
"
composer
this we
has
one's self
and
on
FOREWORD
until
will-lessly,
driftingly,
on,
of the tonal
well
mentally as
as
work, it
absolute
an
way"
correct
to the
mind,
not
authorityas
of
free
from
to
sarily,
neces"
the
only
ence
adher-
conceptionis,to
unassailable
an
way
The
my
poser's
com-
biases,
predilections,
his rendition
mannerisms, and
from
composer's conscious
composer'sown
not
be
of
the
no
to
seems
and
apparitionis completed
as
physicallyabsorbed.
inasmuch
Now,
the totality
paucity
of
may
also suffer
pianisticexperience. It
therefore, that
to do
"
vision which
conception,but
what
entitles him
also the
this individual
to
technical
an
individual
skill to
press
ex-
conception(aidedby
FOREWORD
adhere
the text
to
of his
will and
"
be
must
reflex
position
breeding,education, temperament, disties
; in short,of all the faculties and quali-
that
make
to
go
his
up
And
personality.
these
differ in the
In
respectsthe performanceof
some
of music
to
a
some
measure.
same
reading of
resembles the
If
one.
aloud
book
should be read to
book
does
who
person
us
by
it, would
understand
not
piece
ible?
convincing,or even credCan a dull person, by reading them to us,
if
Even
bright thoughts intelligibly?
convey
it impressus
such
true,
as
person
that
correctness
fathom
the
meaning,
seriouslyengage
reader's want
to effect
said to
an
drilled to read
were
of
our
of
the
with
he
which
reading
cannot
could
attention, because
understandingwould
lack of interest in
us.
ward
out-
be
Whatever
not
the
sure
is
musical, must
be
free and
xi
individual expres-
FOREWORD
rules;it
or
be free to be artistic,
and
must
to have
be individual
must
to
cur
con-
conception,which, at
rarelythe case and does not speak
know
calibre of the
tented
easilycon-
of the beaten
treader
how
in modern
But
canned
the traditional
best,is very
We
it
path.
preciousa thing is freedom.
times it is not
only precious,
it is also
upon
which
artistic bankpianist's
he
is his technic. We
it as
artist,to be
an
accordingto
money.
are
And
vulgar,so
the
while
do
sure,
of it;justas
he makes
the way
as
we
in
there
draw
can
are
there may
not
is to
gauge
any
ment
mo-
him
by the use
respect the wealthy
their
which they use
wealthy people that
be
pianistswho,
not
spite
de-
artists. Still,
gentleman perhaps
xii
by
but rather
greatesttechnic,are
money
at
no
PIANO
PLAYING
PIANO
THE
requisite
first
THE
become
to
pianist
all
discover
that
these
He
orchestra.
For
anything
so
of
gamut
quite
course,
he
there
is
foolish
the
very
that
this
no
and
enough
tonal
its
so
With
contented.
rival
to
to
the
the
provided,
in
an
the
piano
artistic
vouchsafe
is used
manner.
it to
futile, since
highest order,
gamut
of
necessity to attempt
inherent
to
them
sion
expres-
pale.
be
strive
an
as
explore
must
all, never
expressions
extensive
of
within
the
of
stretch
for
however,
above
must,
artistic
piano
must
resources
hidden
resources,
the
off
activity,he
the
are
of
staked
thus
his
for
ground
and
properly recognised
Having
having
both,
wishes
who
one
precise knowledge
limitations
and
possibilities
instrument.
for
musicianly
is
PLAYER
ITS
AND
is
sults
re-
of
artistic
PIANO
THE
From
PIANO
THE
ORCHESTRA
it is
as
AND
one
to be the
far
PLAYING
exponent
of
less than
no
"
the
branch
specific
complete by itself,reposes
its own
and of
exclusively
that
only
orchestra
of music
a
upon
a
type
the orchestra
can
the
"
which,
literature
so
guished
distin-
claim
to
singleinstrument
been
the
has, to my
knowledge, never
greater
expressionthan
"
in certain
any
other instrument;
than
respects
"
even
the
In
of
"
touch
"
and
the immediate-
of its variegatedresults.
dynamic
and
colouristic
piano cannot
with
the
very
limited indeed.
on
qualities,
bear
the
comparison
it is
orchestra; for in these qualities
)not go beyond
The
utmost
that
the
AND
PIANO
THE
pianistcan
PLAYER
ITS
achieve
in the way
of colour
painterscall
the piano,like
For in reality
monochrome."
colour;but
any other instrument, has only one
the artistic playercan
subdivide the colour into
and varietyof shades. The
infinite number
an
virtue of a specific
charm, too, attaches as much
to the piano as to other instruments, though,
than
perhaps,in a lesser degree of sensuousness
likened
be
may
to
what
the
"
to
others. Is it because
some
charm
the
rather
of this lesser
ered
piano is consid-
chastest
of
all instruments?
inclined to think
least,due
to this
have had
suous
sen-
that
am
it is, partlyat
"
"
that it wears
best,
chastity
that we
listen longer to a piano than to
can
other instruments, and that this chastity
may
reflex action upon
the character
of
this literature,
though,we
have to thank
are
the
cisely,
pre-
that
PLAYING
PIANO
be rendered
by skilful hands
simultaneouslyand (to all intents and
ably
purposes) completelyon the piano has probwhich persuaded the
been the inducement
tal devices
great masters
can
"
"
of music
to choose
it
vourite
their fa-
as
instrument.
piano did
not
orchestration
musical
for
at this
be mentioned
It may
of the
wiseacres
they have
the effect of
have
great composers
assert
written
from
just as
time
some
as
"
time
to
"
for
fine works
substantial
most
contributed
zart,
by piano-players(Bach, Mo-
to
Tschaikowski, and
others)
many
almost
only,or
exclusivelyfrom
chief est, medium
those
masters
of musical
came
whose
utterance
the
was
Looking
works, however,
at
the
at their
chestra.
or-
PLACING
PIANO
of
intimacy which
sweet
world-oblivious
pianistwhen,
he
his instrument
of any
neither
buy
he would
other
nor
not
no
cian
musi-
wealth
can
PLAYER
of pianists
transgressions
against
of
canons
THE
sin. On
free from
AND
are,
with
compel.
power
makers
Music
with
moments,
which
type and
PIANO
THE
exchange
the
his innermost
with
commune
can
to
alone
and
and
these,which
granted
are
art
are
less grave
and
less
mind.
and
the
"
gravity
are
no
pianists
"
by
no
ber
num-
that
be less in
that very
worst
virtue of the
misdeeds
are
quiring
piano of redepende
auxiliaryinstruments, of being inIf it were
not
so; if the pianist
ITS
AND
PIANO
THE
compelled always
were
to
at
with
differ
their views
him
to be reckoned
equilibriumand
"
PLAYER
play in company
other playersmight
to conception,
as
and
wishes
should
sweet
peace.
"
"
than
more
three to
extremest
the finest
at
charm.
its specific
piano,are
mined
given factors deterby the individual piano,by the player's
skillof touch, and by the acoustic properties
of
the hall. These given factors the pianistmust
bear in mind,
as
well
as
PLAYING
PIANO
piano
colour, if he
to
as
of the realm
to
it
I hear
"
sometimes
"
where
so
plays with so
help wondering
he
I cannot
that
"
sovereignmusician.
also of every
pianistthat
least,play with
at
it is not
where
ff
much
so
rules,as
be the
must
possibilities,
of every sovereign hence
endeavour
Now,
he
which
over
and
its boundaries
supreme
nice appreciati
A
charlatanry.
and
of dilettanteism
composition.My
founded, for the
with
so
that
"
much
feeling
if he does
ff
so
much
not,
ing
feel-
feeling
constitutes
decided
of the
"
clear
keep
to
means
apprehensionis usuallywell
pianistthat plays everything
"
feeling is an artist in
realitya sentimentalist,if
much
name
not
a
only,but in
board.
vulgar sensationalist or a ranter upon the keyWhat
sane
pianistwould, for instance,
attempt
to
play a
cantilena
as
sensuousness
'cellistcan
do with the
that
they
can
the
the
same
never
artistic means,
legitimate,
10
since
they
are
attain such
they make
pealing
ap-
mediocre
most
greatestease? Yet
with
many
fully
ends
by
either the
THE
PIANO
AND
ITS
PLAYER
"
"
"
"
fault
"
"
"
and
The
their technic
artistic and
too
"
weak.
the dilettantic
manners
of
be
expression must
sharply differentiated.
follows: the artist
as
They differ,principally,
knows
his
and
feels how
instrument,
piece,will
allow
and
aesthetics,
nature
of
responsiveness
particularpart of his
any
him
without
to
go
without
violating
stepping outside
of his instrument.
of the
economy
at
far the
He
shapes his
of the
tion
rendi-
wise
pieceaccordinglyand practises
in the
use
of force and
in the
display
the ripe
As to feeling,
feeling.
per sef it is
product of a multitude of aesthetic processes
of
which
the
the
artist will
itself until
and
develops;but
ing
keep this product from asserthe has complied with every re-
moment
creates
11
PIANO
quirement
has,
and
"
to
so
PLAYING
artistic
workmanship ; until he
speak, provided a cleanlycovered
of
fullyset
table upon
which
"
feeling
touches, say,
The
as
flowers.
the other
dilettante,on
consume
time
any
"
he
simply goes
bothering about
it
around
as
of
finishing,decorative
as
appear
these matters
hand, does
not
by thinkingand planning;
for
his piece and, without
workmanship or squirming
"
best he may,
he rambles
off into
"
consists of
feeling,"which in his case
naught but vague, formless,aimless,and purely
"
His
sentimentality.
accompaniment
drowns
the melody, his rhythm goes on a sympathetic
other
artistic
strike, dynamic and
no
matter, he
propertiesbecome hysterical;
sensuous
"
"
feels "! He
is under
Let
builds
the roof
and
house
the
in which
ment.
garret in the base-
it be said in extenuation
that he
the cellar
of such
is not
player
wholly to
a
causes
him
to
accept and
12
follow advice
ITS
AND
PIANO
THE
certain
For, under
source.
of
even
vice
conditions, the ad-
connoisseur
be
may
wrong.
well-equippedcritics,
and
professional
Many
duly consideringits
of
good faith,instead
in
PLAYER
habit of
ing
expect-
depth, and
repose,
his programme.
pieceon
He
story,present himself
;"
"
Titan
call for
or
of the
critic
are
confronted
of
the
write. From
the
or
piecemay
With
this demand,
"
public
roasting,"
rather frequently.
much
conditions
giant
as
which
they
experienceand that
others I know
that the critics in large cities
overburdened
with work
so
son
during the seathat they have seldom time to listen to more
must
of
as
once
tenderness.
is this,perhaps,as
Nor
"
"
at
the alternative of
are
must
piano,though
naught but
artists
so
than
one
piece out
After
own
my
such
of
a
mere
13
whole
recital programme.
PIANO
their
of
to
PLAYING
"
himself
show
then he is
why,
to
renown
to make
many
resort
it is not
where
from
ooze
tempo
good
the instrument
to
"
notices
of all
of both
; to
show
"
are
qualities
produce what may
or
use
"
power
"
feeling
the
late
to vio-
compositionand
other purpose
no
quickly as possiblethat
as
the various
tic nouveau-riche
in order
rhythm;
and
"
ditions
con-
to
pore;
the boundaries
than
that such
every
of the
one
as
aesthetic violence
vacillate it out
or
So-and-so,
aspirantsto public
young
to
"
of
sure
down
wonder
no
"
great
simply put
"littlefellows." It is
tempt
"
the
as
ditions
con-
be called the
parvenu,
who
pianisthe
practises
THE
As
the
of
ignoranceor
PIANIST
AND
piano,so
its limitations
as
THE
has
to the
14
COMPOSITION
also every
range
lack of training.
composition
of its emotions
PIANO
sensuousness
such
styleof
the
1 ? On
of
some
that
"
works
typicalof
eye that
an
some
self.
him-
identity
is experienced
smaller, more
minute
delicate features,however,
of the
not
be
for the
clumsilydragged
sake
piece.That
of
sort
and
into
traditional
of
ence
"rever-
peculiarities
particular,
non-typicalcomposition.It
reverence,
composer
work
that
"
is bound
of the
is not
in G
ing
play-
the master's
cases
Such
style.
foreground
rendition
of
manner
not,
are
to detect it in the
niches;they must
the
has written
master
must
even
Chopin?
the latter
traits of his
poeticpresage
Every great
enough
or
stereotype,academic
Beethoven
In
rendition
op. 53,
would
"
deep and
Chopin's,that it must run
and
feeling."How
be
"
preconceived
majestic,"
"
with
would
"
be
if the work
over
with the
of Beethoven
work
every
PLAYING
in
means
but
fetichism. Justice
justiceto
And
particular.
16
to
the
this
we
justice
cannot
AND
PIANO
THE
from
learn
the
PLAYER
ITS
reading
of his
biography,but
the
by comparing
of the
others
in hand
though
master,
same
disclose
may
the work
just as
many
the
with
parison
com-
differences
"
not
are
come
the
which
principles
into his
will lead
It is rather
own.
an
close examination
of every
of every
thinkingthat
and
will
to see,
help an
what
artist to
testing
of self-
his
own
eyes.
Thus
we
meaning
"
find that
even
is not without
lines
are
the
"
in
reverence
boundaries
drawn
ary
; though these bound-
here
17
certain constructive
only
to
secure
the
PLAYING
PIANO
possible freedom
widest
Goethe's
what
great word
for
expresses
mean:
Outwardly limited,
Boundless
to
18
inward.
their
most
work.
tersely
GENERAL
RULES
"
if it
piano-playing,
SUCCESSFUL
simple rules,
what
helped by
causes
slight
so
Value
The
mental
is not
hour,
But
before
one
as
or
clean
half
as
you
far
hour
did
you
from
cannot
clean
do
any
The
dous
tremen-
breakfast.
suggest
me
the
Just
work
on
for
away
keyboard
Eating
table.
clean
let
wash
hands.
your
is
before
and
above
play
say
piano
little hint
tice.
no-
appreciated.
even,
the
worth
Hour
sleep
to
as
touch
you
best
piano
so
go
prosaic
very
tastes
ing
contribut-
as
few.
from
gained
much
valuable,
generally
freshness
help.
down
set
very
very
hardly
of the Morning
time
other
an
to
be
to
as
some
immensely
are
endeavour
to
seem
some
least, be
at
can,
will
Still, they
will
by
entirely acquired
be
not
can-
so
an
always
with
the
unclean
keyboard.
Now,
you
never
as
to
Practice:
practise
Let
than
more
19
suggest
me
an
hour,
that
or,
at
PIANO
hours, at
condition
your
take
PLAYING
and
stretch
of mental
in order
have
affixed to your
the
pictureon
and
into your
newly
entire
a
affixed
Nature
no
that
speak, is
the newly
may
in your
flesh and
learned
and
This
music.
to
work
"
which
of
more
no
out
go
unhitching,so
absolutelynecessary
get, as it were,
accordingto
"
strength.Then
method
sciously
uncon-
"
mind
and
blood. That
must
become
organism,very much
like
oped
photographicplate is devellow
by the silver bath. If you al-
time
the result of
"
of the ear,
After
you
every
half
hour
make
minutes
20
pause
until
The
Position
of the Hand
PLAYING
PIANO
and
mind
our
cause
us
time
wrongly. From
practiseloudly so
course,
and
endurance.
thank
you
Do
Not
greater part of
for it,too.
Practise
of
day
same
at
the
called.
thodically,
me-
Systema-
spontaneousness,and
is the very
taneousness
"
or
Systematically,
it is sometimes
of the
develop physical
recommend
as
every
to
as
should, of
we
practiceI
power.
to time
for the
But
play insecurely
to
soon
same
spon-
studies and
the
the
same
play
sequence
pieces,you
same
manifestations, and
that
nature
it stands
systematicexploitingof
must
our
to
reason
emotional
blunt it.
Regard
to
"
22
GENERAL
RULES
become
in," as
"
and
warm
pianists
say
we
repeat them
for
morning, if
you
will.
lukewarm
pliable" played
drop
"
the
substituted,however.
but
"
elastic,or
same
If
water.
will follow my
next
you
the
purpose
method
own
dip
your
find it just
efficacious.
as
Rule
A
to
for Memory
and
strengthenthe receptivity
of your
memory
the form
piecea
the music
several
and
number
with
manner
and
wish
retentiveness
following
short piece.Analyse
a
of its texture. Play
of times
before you.
hours
If you
you
Start
plan practical:
the
Exercises:
Then
try
to
very
exactlywith
stop playing
trace
the
course
for
of
ideas
PLAYING
PIANO
ing
next
of the
you
"
remember
"
"
"
stuck
certain
fail
resume
your
from
away
the
at
silent
reading
piano.Under
place for the
the
piece
circumstances
time
being,and
of the piece.By such
velopme
deyou lose the logical
of your piece,
ory
tangleup your memand injureits receptivity.
vation
obserAnother
in connection with memorising may
find
we
consciousl
unstudy a piecewe
placehere. When
"
"
of
not
associate in
thingswith
relation upon
as
no
of
it which
it.
By
colour
ivoryon
our
bear
these
the
"
mind
not
the
multitude
slightest
"
things I mean
piano,lightor heavy,
of the wall
some
paper,
discoloration of the
RULES
GENERAL
in
to the architectural
short,
conscious
things.And we remain utterlyunwith the
of having associated them
piecewe are studying until we try to play the
well-learned
piecein a different place,in the
house of a friend or, if we
are
inexperienced
all sorts
of
"
enough
to commit
hall. Then
us
such
find that
we
unexpectedly,and
most
blunder, in the
our
was
memory
of
or
our
memory
blame
we
our
cert
con-
fails
ory
mem-
But
our
tomed
accus-
memory;
from
the
piecein
our
memory.
With
Regard to Technical
good compositionsand construe
own
your
technical exercises. In
up
will find
ronment
envi-
Work:
out
Play
of them
nearly every
place or two of
conscience tells you that they are
your
wishes ; that they can
be improved
to your own
dynamupon either from a rhythmical,
25
PLAYING
PIANO
ical
or
"
go
place.You
proper
difficult
severed
and
this. If
machine
part
from
its
to
may
its
attempted
text
con-
in its
must
part of
relation
proper
that
Remember
context.
is
in
perfectedin
the
"
"
proper
often
the
case
this
and
as
filing,
or
"
be. This
"
of a repaired
mounting
junction
part is done best by playing it in conwith one
precedingand one following
may
then
put
two
measures
safelyunder
your
achieved
The
is no
"
requiresadditional packing
measure;
you
itself
mere
your
yet when
certain
they are
feel your
fingers.Not
success
ground
until then
of technical
purpose
mastering of
guarantee of
play
you
side,
each
on
have
tice.
prac-
difficulty
per
whatever.
Many
compositionsfor years,
asked to play them the
26
se
dents
stu-
and
evi-
RULES
GENERAL
palpable that
they cannot have finished the learningof them.
will
is that they never
The strong probability
finish the
study of them, because they do
not study right.
As
to the Number
of Pieces: The larger
able
of good compositions
the number
you are
of
dences
imperfectionare
so
"
"
will find
traits
some
however, in consecutive
Take
one
repetitions.
after the other. After the last pieceis played
will appear
fresh again to your
the first one
This
mind.
process
I have
tested
and
found
very
"
"
The
hands
"
should
slightinclination
be
from
nearlyhorizontal,with
the elbows
27
toward
the
PIANO
the
keys. Bend
to touch
PLAYING
the
with
one
and
upon
and
arm
should
both
aid, sometimes
to your
come
shoulder
be
even
reserved
placesrequiring
great power.
Where
powerful octaves
in
occur
long
jointsand
and
shoulders.
each
of the
of the
muscles
With
jointswill
over
fingers,wrists,
rational
tinuation
con-
distribution
and
over-fatigue
This applies,
the playerwill gain in endurance.
of course, only to bravura
In places
passages.
where
musical
player does
characteristics
best to choose
of touch
sources
About
and
Using
"
avoid
most
seems
the Pedal:
above
all
"
28
of
predominate the
whichever
of these
appropriate.
Beware
quent
of too fre-
long-continueduse
RULES
GENERAL
habit
after
Play
Never
use
repast.
of your
abilityto
time. When
you
Metronome:
for
metronome
with
littlepassage
play the passage
a
the metronome
as
may
a
at
once.
For
reallymusical
test
in strict
the result,positive
or
see
You
ative,
neg-
according
rhythm
is
unmusical
You
deadlike.
and
should endeavour
This
which
beats in accordance
what
call the
to
vary
constitutes in musical
imparts life
must
individual
the
29
nifica
sig-
interpretation
pulse-beat
dead, black
notes.
PIANO
PLAYING
The
Correct
Posture
straightbefore
the
ready
moment
the feet
keep
hand
to
them.
use
are
bad
"
arm
not
to be
as
the
of your
Sit
stiff. Have
All other
observe
phrase,and
Piano:
the
at any
manners
Let
manners.
upon
at
piano but
pedals,so
the
feet upon
both
Avoid
patientwill
feverish and all aesthetic interpretation
to the happy hunting grounds !
goes
you
"
individual
else your
exaggeration,or
grow
to
"
too
your
keyboard when
a
certain roundness
and
arms
hands.
of force and
waste
is bound
to
cause
ture
prema-
fatigue.
Not
Do
Attend
that you
blind,nor
can
that you
Poor
learn correct
can
how
sent
Do
not
vision from
lieve
bethe
reallyprofitby hearing
pieceshould
Concerts.
child
should
not
be
company
learn
30
how
in order
not
to
that
behave?
GENERAL
Such
RULES
experimentsare
concerts
poor
artistic
the
encourage
you
in his crimes
to continue
ing
attend-
dangerous.By
decency, and
againstgood
become
you
bungler
and
taste
his
plice.
accom-
do
withhold
is to
If you
ones.
proposed
on
you
for
say
Those
Who
of
expect that
your
in Public
have
you
or
dren's
chil-
your
every
times
sition
compo-
you
must
detail of it shall go
wishes.
of
properties
serious
I should like
played a
three
or
Do
at littleunexpected occurrences.
the acoustic
that lies
matter
own
your
Play
publictwo
to
dren's
chil-
your
appreciateyour
the opportunityto
musical
lesson.
this: Before
in
or
of
will
glad
in
once
own
your
higherplane than
To
not
be
bad
to the merits
as
teacher. He
and
music
to
ask
concert
confidence
serve
doubtful
are
music
patronage from
your
danger
31
not
be
to
surprised
Consider
the various
cording
ac-
halls
the musician.
that
stitute
con-
Bad
PLAYING
PIANO
humor
even
on
clamlike
but
overcome;
or
slightindisposition,
austere
audience, Puritanically
diffidence
cool from
or
part,
your
the
all these
"
acoustic
the
same
to
sneers
from
the
death
your
thingscan be
propertiesremain
every
effort to
Therefore, try
pictures.
what sort of
earlyas possible,
noble-toned
as
stomach
and
then
musical
your
pictureyou hold in
circumstances
permit.
the
I Find
When
of
of
misbehaviour
tain,
ascer-
an
tectural
archi-
mind
in
as
Hall. An
rectifyingthe
hall I have
fill,
Approach
nearlyas
can.
Acoustics
Bad
important medium
your
to
feast is to
"
produce
found
acoustic
in the
to
the
treat
It is a fact that we
pedalling.
the pedal differently
in almost
hall to insure
every
that
from
a
use
number
of the
the
of books
results. I know
same
have
been
written
on
theories which
GENERAL
tumble
RULES
down
experience
concert
stage. There you
legitimate
lean on nothing but experience.
About
Music.
on
Reading Books
on
the
speaking of
to
read
books
them, but
they support
and
not
unless
this
In art
with
demonstrated
has done
his precursors
one
have
by
laws.
rules and
is a
as
his
done
language
"
with
Every
the
orising
all therious,
preca-
surdity
to ab-
language
and
country. Let
way,
as
he thinks
Tolstoi
one,
and
the
successors
in
succeeding
every
by him. Hence
in art must
be problematicand
while dogmatising in art amounts
Music
ment,
argu-
in his works
laws, and
in their turn
an
exceptionsthan
genius in art has
of new
forefeeling
with
unless
succeeds
argument
we
And
advise you
me
believe them
to
statement
every
convincingyou.
music, let
on
can
wherever
be
of
their
own
cere.
feels,providedhe is sin-
83
CORRECT
technic
finger
GREAT
as
extreme
in
the
action
of
the
the
of
the
touch,
To
play
much
consume
because
the
of
with
off
the
allows
How
the
an
notes
is the
of the
true
of
motion
is
of
non-legato
bear
will
non-legato
than
play
to
the
it
legato
fingers between
the
call for
and
that
technic
fingers
hardly losing
"
may
time
developed
results, will
glide sideways
"
increase
gliding
but
ter
lat-
The
development
run
of
lifting
both
saves
time
keys,
ivory
as
rapid
playing legato
the
the
left
the
the
to
speed
convinced
finger
contrary
a
be
am
of
defined
great
fingers.
process
more
In
tones.
lifted
The
by showing
out.
me
the
touch.
legato
perfection
exactly proportionate
and
never
touch.
legato
degree
the
can
be
may
precision
quality, however,
without
TECHNIC
AND
TOUCH
to
the
not
are
contact
right
or
it. This,
rally,
natu-
exertion, and
thus
speed.
legato accomplished?
just mentioned,
34
and
By
by
PIANO
PLAYING
est natural
out
sequelof fingersto be used witha break.
By earnest thinkingevery player
contrive the fingeringthat will prove most
can
convenient
to him.
But, admitting that the
of hands
great diversity
prohibitsa universal
all the varieties of fingeringought
fingering,
to be based
If
the
upon
of
principle
natural
quel.
se-
ger
Precision, the other component part of fintechnic, is intimatelyrelated with the
player's
general sense
of orderliness. As
of fact, precision
is orderliness
execution
of
ter
mat-
in the technical
musical
If the
prescription.
student will but look quiteclosely
at the piece
he is learning;if he has the patienceto repeat
times if necesa difficult place in it a hundred
sary
and
"
acquirethe
of
correctly,
trait of
course
he
"
precisionand
will
he
soon
will
perience
ex-
in his technical
ability.
Mental
form
technic
clear inward
presupposes
the
conceptionof
86
abilityto
run
with-
CORRECT
TOUCH
tonal
acts
picturedwells
the
this influence
motoric
tonal
picture
picture.
imagination.
our
is then
in
is the
music-making.As far as
course
by which the musician
musical
concept into
the
tensit
in-
transferred
which
nerve-centres
the
should strive
responsiveportionsof
them accordingto its own
brain, influences
to
in
on
the
upon
and
the note
tried
are
cerned
con-
known
this
converts
his
tonal
Hence,
reality.
when studyinga new
work, it is imperativethat
of perfectclarity
should be prea tonal picture
pared
in the mind
before
the mechanical
technical)practicingbegins.
this trait
stages of cultivating
In
the
(or
earlier
it will be best
thus to
in
The
a
help us
our
in
mind.
blurringof
the tonal
pictureproduces
temporary (don't get frightened!)paral37
PIANO
PLAYING
"
"
and
is but
he
warning
fingersare
going
"
"
sympathetic strike
because even
the momentarily unconcerned
sympathetic,
the
fingersparticipatein it. Now
general and
on
"
of this sensation
cause
action
the
even
of the
mind.
change
in
fingersthemselves,
It
has
lies not
is there
that
defective
but
solelyin
undesired
some
pairs
place,a change which imaction of the fingers.The
process is
of complicated
by quick repetitions
the
like this:
taken
slips,flaws escape
make
we
quickrepetitions
figures,slighterrors,
our
notice ; the
the
largerwill
more
this must
and
needs
distorted tonal
are
very
blunders
becomes
which
at
of these
be the number
every
lead
pletely
finallyto a comThis distortion,
picture.
worst
likelynot
to
feature. Inasmuch
make
the
repetition
the
tiny blots,
fingersto
38
act
the
same
tonal
nerve
become
as
little
picture
contacts
unde-
PLAYING
PIANO
ing step
the
with
automatism;
our
and
on
as
have
fingers.We
allowed
we
the
relied
fingersto
the mind
lagged behind,
it should
be, ahead
on
run
instead of being,
of the
fingers,
preparing
their work.
which
any
direct
be
apparent, cannot
It is
course.
of
one
developedby
the by-products
zon.
generalwidening of one's musical horiIt is ever
proportionateto the growth of
of the
mind
acquiredor developedby
constant, never-failing,
unremitting employment
whenever
at the
are
we
piano.A procedure
developingquick
toward
tending directly
musical thinkingis,therefore,not
The
musical
craving for
necessary.
musical
utterance.
It is the direcin
Hence
us.
will. But
musical
will is
it becomes
technic
facultywithout
a
purpose
without
purpose,
in itselfit can
art.
40
"
musical
and
never
when
serve
in
speak
TO
PEDAL
concrete
must
which
organ
pedal
is
the
when
we
read
guide
"
the
upon
pedal.
executive
the
judge,
any
phase
and
regard
lever
full
or
to
upon
general
treadle
motion
the
the
the
criterion.
and
the
pedal
must
the
rule
basis
always
41
servant,
If
guide,
there
is for
the
pedal. Hence,
following
be
this
is
should
music
of
with
the
the
foot
we
I recommend
down
the
where
the
the
be
is the
ear
in
fingers
ear
of
"
merely
of
here
the
guides
that
treatment
reader
of
is
final
The
employment
guide
foot
mental
funda-
the
piano-playing
is said
resting
As
The
"
particularly
whatever
with
sole
the
it is in the
ear
"
that
must
so
of
theory
eye
agent, while
in
remember
the
As
music,
the
the
as
ear!
and
"
the
governs
use.
the
the
of
its
governing
the
to
agree
basis
the
on
complete understanding
principleunderlying
of
manner
possible only
is
pedal
THE
OF
USE
THE
lines
understood
principle.
pressing
the
quick, definite,
immediately
after
"
PIANO
mark
after
me,
PLAYING
the
"
simultaneouslywith
as
so
the stroke
of the
give pedal to
can
order to make
the
the
of tones
new
allow
and
vent
pre-
should
we
tone
one,
stoppingof
fingers,
do. To
must
we
keys,never
and
cacophonousmixture
consider that
before
that, in
fect,
per-
the
we
the
If, however,
work.
the
we
we
finger-stroke
because
again before
speaking of
down
grand
"
off
"
"
the
""
the
be
down.")
of cases,
in art
simply
damper
in
mind
as
exactlywith
inhibit this
ping,
stop-
questionis lifted
to fall down.
(In
moving up and
the
action
of
uprightpiano the
substituted for
up," and
"
in
rule
to admit
"
the
word
the
it will be found
"
in
time
dampers
piano; in
must
tread down
it has had
have
"
for
the
erroneouslyassume
many
a
we
of
striking
"on"
vast
jority
ma-
especially
of many
ceptions.
ex-
Harmonic
but it
spiteof
what
I have
just said
42
above
there
are
Photographby Byron
Incorrect
Position
of
the
Feet
Photographby Byron
Correct
Position
of
the Feet
on
the Pedal
PIANO
PLAYING
binding,a unifyingof
colours
of the other
the various
instruments.
Just
tone-
such
and
cease
a
certain soberness
in the
the
piano by
pedal. In
horns
stringsproceed alone
background
upon
which
when
is taken
stand
we
sues
en-
duce
proof
non-use
the
the harmonic
the thematic
development
pictureproceeded;in the
of the musical
latter case,
horns
instance, while
they furnished
of the
there
which
former
the
active
were
of tone
ing,
glaz-
the
horns
and
away
cease
the
the thematic
ground
back-
figurations
con-
speak against
the sky. Hence, the pedal gives to the piano
that
tone
unifying, glazing, that finish
though this is not exactly the word here
which
the horns
or
softlyplayed trombones
give to the orchestra.
out
"
so
to
"
"
"
But
the Pedal
Can
Do
More
Than
That. At
effects
produce strange, glasslike
I
tones.
by purposely mixing non-harmonic
times
we
only need
can
to hint at
cadenzas
in
some
ery-like
of the fine,embroid-
Chopin's works,
44
like the
THE
USE
in his E-minor
PEDAL
THE
OF
ures
(Andante, meas101, 102, and 103). Such blendings are
productiveof a multitude of effects,especially
add
of dynamic gradathe agency
when
we
tion:
effects suggestiveof winds from Zephyr
one
to
Concerto
of
of waves,
roar
in many
is to
chord
while
while
may
in
pass
it lasts. In
such
mental
funda-
one
predominate for
chords
other
where
cases
time
some
cession
quicker suc-
it is
by no
the pedal; we
means
imperativeto abandon
need only to establish various dynamic levels
and
place the ruling harmony on a higher
level than the passingones.
In other words, the
receive so
much
predominating chord must
force that it
can
weakness, and
was
while
This
the
constantlydisturbed
it also re-established
death
of every
use
evanescent
of the
cases
weaker
of
die of their
one
the
45
ones
own
by
the
weaker
its supremacy
pedal has
nature
briefer
which
ones
with
the
it outlasted.
of
the
piano.
PIANO
That
when
moment
monic
hand
blending of
tonal
the
clusively
ex-
player'sown
ear, and here we
at the point from
which this armore
once
ticle
started,namely: that the ear is governor,
are
and
it alone
that
It
absurd
were
pleasethe
our
ear
own
ear
decide
can
is to be any
there
of
that
assume
our
ear,
and
can
we
to
train the
should
we
gain the
assent
ever
of
ceptibility
sus-
make
our
own
than
not
or
greatly
of others by our
playing so long
is not completelysatisfied. We
to
difficultto
more
whether
pedal.
should, therefore,endeavour
it
beauty of
solelyand
be determined
can
non-hais
the
by
as
the
imperilsthe
tones
piecein
PLAYING
to
of serious
word
mindfulness
play
"
warning: Do
with
consent!
is the bed-rock
also, of
course,
basis of
of
the
confound
not
To
hear
un-
ourselves
playing
all music-making and
technic of the pedal.
our
own
"
to the
Therefore, listen carefully,
attentively
tones
you
pedal as
produce. When
prolongationof
46
you
the
employ
the
fingers(to sus-
beyond
tain tones
your
tone
the Pedal
Use
You
Prolongationor
under
for
must
chief consideration.
Whether
Mere
fingers)see
,
of your
tone
of the
the reach
catch, and
to it that you
PEDAL
THE
OF
USE
THE
as
of
imperfection
it
use
Means
as
cloak
execution.
multitude
to cover
a
apt to be made
wants
sins; but, again like charity,who
it is
make
himself
work
of
of colouring,
medium
circumstances
no
as
dependent upon
it,when
of
to
honest
prevent it?
can
Nor
of the
arm)
also
true
"
for which
bung)
In
"
the
but not
mutatis
of the
pedal,and
mutandis
the Germans
use
this holds
of the left
"
word
"
(Ferschieshifting."
pedal,
the
left
far to one
side that
so
pedal shifts the hammers
instead of striking
three strings
they will strike
only two. (In the pianos of fiftyand more
only two stringsto each
years ago there were
tone, and
when
the hammers
47
were
shifted
by
PLAYING
PIANO
the
treadingof
the left
those
string.From
one
"
the term
corda
una
"
string.
) In
one
"
an
of tone-volume
piano the lessening
by a lesseningof the momentum
hammer
as
cover
not
is produced
of the
stroke.
Now,
to
right
up-
be
the
rightpedal should
regarded as
not
be used
the left
pedal
neglectthe
licence to
mation
for-
pianissimotouch. It should
but
not cloak or screen
a defective
pianissimo,
of colouring
should serve
a
means
as
exclusively
where the softness of tone is coupled with
call
what the jewellers
dull finish." For the
of
fine
"
left
To
Sum
both
made.
were
not
used
for
Those
must
Remember
for
decorative
who
have
that
and
then
for what
even
screens
use
they
are
them, but
protection.
do use
them for hiding something
something which theypreferto hide I
purposes
48
or
PLAYING
playing
BY
understood
rendition
the
of
manner
found
a
for
the
the
piece
in hand
follow, by
well
Though
on
be
can
we
than
If
by
solute
ab-
regard
true
sought
and
though
be
in
all
his
marked
the
in
style, it
you
can
from
his
of
manner
works,
differences
of
poser
com-
succeeded
work
his
of
that
that
means,
other
peculiarity
have
you
by
written
first endeavour
the
by Chopin
any
same
various
Only
rather
general lines
the
does
is
the
be
may
Our
out
any
nevertheless,
the
pieces
search
work
equally
may
to
general.
one
be
must
"
in
its contents
composer.
be
playing
not
same
should
in
which
style
of different
and
in
expression. Now,
expression
each
number
one
of
manner
to
"
of music
piece
justice
to
STYLE"
'IN
in
does
play
pen.
writing
there
will,
between
pieces.
careful
find
the
study
key
to
49
of
each
work
its correct
by
itself
conception
PIANO
and
rendition.
about
PLAYING
will
We
the composer,
find it in books
never
in such
nor
of his
treat
as
themselves
in each
study a lot of
possiblyenrich
can
they never
one
People
se.
per
who
alone
contents
own
terpre
for the in-
particularwork
the
can
and
in hand.
frequentexperiencethat
book-learned
musicians
(or,as they are now
called,musicologists)
usuallyread everything
in sight,and yet their playing rises hardly ever
We
above
from
know
dilettanteism.
mediocre
losingour
to his
way
specific
language
in the terms
Literature
is literature,and
They
may
combine,
never
be substituted
Many
a
Students
as
instead
of another
music
in song,
but
art?
is music.
one
can
Never
Learn
composer'sspecific
language
50
to understand
because
their
PLAYING
PIANO
"
purely technical
purely technical and
is
task.
material
the
transform
To
into
processes
individual; it
with
rests
those
ral,
natu-
of
and
many
which
are
rised
complex qualities
usually summatalent," but this must
by the term
presupposed with a player who aspiresto
"
be
tistic
ar-
work.
On
the other
cannot
lift
of a
content
spiritual
compositionif its possessor neglectsto examine
the latter carefully
gredie
inas to its purelymaterial
He
flatter the ear, sensuously
may
speaking,but he can never
play the piece in
style.
Now
or
a
hides the
How
Can
Know
We
whether
we
are
not
to
should
the
find how
values.
written
much
understood
have
right track
the
on
proved to yourselfthat
and
the piecespiritually
have
do, you
to
repetition
you
defect
come
said
To
after
that
mean
conception
requiresa considerable degree
foregoing
thing,to put
one
who
technic
style.Remember
is
this
"
everybody
well-controlled
in
one's matured
transmit
be under
"
"
"
of mechanical
course
noticed
un-
in hand.
to one's auditors
must
every
hitherto
some
are
Obviate
interpretation.
by one, and in so doing you
to the spiritual
and nearer
sence
es-
of the work
(as I
it. With
master
you
in your
nearer
As to the
to
will discover
these defects,one
will
STYLE"
"IN
PLAYING
can
has
does
not
good and
interpreta piece
that
to
it to
good
possess
use
wealth
is
quite
another.
It is sometimes
study of
"
piecemay
impair the
ten
53
no
"
objective
ity
individual-
fear of that! If
PIANO
PLAYING
he
lights,
absorbed.
has
Of
mentallyand temperamentally
the distinctive feature which
will have
one
been
conceptions
unconscious
while
it
But
this
which
feature
unconsciouslyformed
constitutes legitimate
and
individuality
which
alone
just
will admit
of
real fusion
of the
what
not, is tantamount
at best it is
falsification;
charlatanism.
galleries,"
feel convinced
written. To
different
the
ways
al-
playsonly what
auditor,who
follows
intelligence
the
the
playing to
player should
The
that he
"
with
his
own
is
and
the
player'sperformance
in the lightof
piecewill appear
the player's
The stronger this is
individuality.
the more
it will colour the performance,when
admixed.
unconsciously
54
Often Said
Rubinstein
justiceto
to
"
Me:
is written; if you
first exactlywhat
full
STYLE"
"IN
PLAYING
Just
play
have
done
it and
adding
few
How
I venture
me
"
to prove
to any
if he be at all worth
does not
play more
think),but,
in
printedpage
principalcauses
a
those who
are
than
one
fulfilthis
will
who
duty!
play for
that he
to
listening
is written (ashe may
"
reveals. And
of
this is
one
of the
misunderstandingthe
the inherent
portion,
misunderstandingwhich
"
"
style
of
teric
eso-
piece
is not always confined
to amateurs
inexact reading!
true interpretation
of a pieceof music
a
"
"
The
results from
understandingof it,and
this,in turn, depends solelyupon scrupulously
exact
reading.
Learn
soon
what
correct
the
peat,
Language of Music, then, I rethrough exact reading! You will then
fathom the musical meaning of a composition
teners.
lisand transmit it intelligibly
to your
Would
to
as
you satisfy
your curiosity
manner
of person
55
the author
is or
was
at
PLAYING
PIANO
the
I
of
time
in
said
the
writing,
"
"
centre
composer,"
will
you
be
in
the
"
for
only
enabled
to
play
interest
not
studying
it
in
as
"
chief
your
composition,"
by
But
so.
"
Foreword
"
should
do
may
you
style.
his
in
the
work
Anton
Rubinstein
PLAYING
PIANO
ing
I, understandinghim, translated his mean-
and
into music
and
musical
times,
Some-
utterances.
enthusiastic
about
on
the head.
bring to him,
than
once.
Thus
as
He
he
permitted me to
a lesson,any
compositionmore
explained this to me once
by
never
saying that
he
Usually,when I came
Berlin,where I lived, I
58
to
him, arrivingfrom
found
him
seated at
RUBINSTEIN
HOW
his
He
TAUGHT
"
"
"
Rubinstein, understandingat
cal
the musi-
once
came,
sometimes
and
a
some
wave
girls
"
of his hand
in the corner,
the time
condition
seldom
he directed
shockinglyout
of his piano he
indifferent. He
the notes
to the
me
would
remain
of the work
was
of tune;
was
With
men.
any
Bechstein, which
elderlyladies,
(mostly Russians),
old ladies
young
when
visitors several
as
very
son
the les-
but
piano
most
to
of
this
always serenely
at his desk studying
while
played.He
always compelledme to bring the piecesalong,
that I should play everythingjust as
insisting
it was
my
written 1 He
playingwith
pages. A
would
follow
pedant he certainly
was,
59
every
the
on
a
note
of
printed
stickler for
PIANO
the letter
PLAYING
when
incrediblyso, especially
"
works!
same
modestly to
"
you
Once
After
you
played
auntie
or
toward
me
I do
are
old
as
moments
this
piece would
he
now
"
said:
The
way
right for
risingand coming
Then
he would
am
swered:
an-
ly.
Rhapsody prettybad-
few
mamma."
as
he
can."
if you
"
Liszt
played a
a
you
as
played
When
do
may
this
Once
he
one
"
be
let
Now
say:
all
see
us
how
"
"
notice."
"
How
"
your
do you
mean
piecementally
"
mind
I would
this,"he would
fingerstouch
in your
"
mean?
the
the
"
answer:
keys you
that is,you
tempo, the
CO
ask.
must
must
manner
Before
begin the
have
settled
of touch*
RH
O
"
TAUGHT
RUBINSTEIN
HOW
fore
all,the attack of the first notes, be-
and, above
your
actual
bye, what
is the
"
don't you
speak?
Generally I would
such
usually I
tirade, but
mutter
something after
said something
spired
he inwith which
stupid because of the awe
me.
Finally,after trying several of his
suggested designationsI would hit it right.
Then
would
he
say:
there
"Well,
well! And
is it?
last! Humourous,
Very
irregular hey? You
"
sodical
rhapthe
understand
"
at
are
we
"
Yes."
meaning? I would answer,
"Very well, then," he would reply; "now
prove
it." And
then
I would
begin
all
over
again.
He
would
he wanted
his
note
stand
side,and
specialstress laid
powerful fingerswould
with
whenever
a
upon
would
simply
certain
press upon
my
When
he
my
left shoulder
the
at
have
press
61
the effect he
his whole
stab
for
was
hand
me.
after
upon
PLAYING
PIANO
it
mine, flattening
and
out
like
spreading it
butter
the
over
"
with
say, almost
cleaner,cleaner,
discord
had
did not
lack
if the
cleaner," as
But
anger,
of
been
my
doing.
Such
occurrences
hung by
So
excuses.
was
justas
are
an
I remember
"
Schubert-Liszt's
to the
placein
King
says
child, oh,
Rubinstein
asked
piecewas
"
And
"
that
Thou
me," and
besides very
"
me:
"
place?
62
You
how
forgottenI
child,
with
the
Do
you
played
I
came
the Erl-
compositionwhere
the
come
he would
Erl-K6nig." When
the
to
up
comment:
occasion
one
on
plain
ex-
do. For
to
man!"
young
tried to
generallykept
that
experience,
when
excellent
quicklywas
at this
some
again,and
down
I would
ended
also calm
humourous
tragicalalways
if I had
hair, especially
to make
or
into the
their turn
side, but
dear,
sweet
I had
poor
played
arpeggios,
know
the text
PIANO
PLAYING
judgment,
own
would
for
achievement
my
he
only then,
be
the
valuable
plain,
ex-
and
own
my
would
stein
Rubin-
from
truth
the
that
obtained
conceptionof tone-pictures
through
the playing of another givesus only transient
and go, while the selfimpressions;
they come
created conceptionwill last and remain
our
own.
Now,
with
Rubinstein, I
much
He
I look back
when
instruct
not
was
my
it.
I
"Play
bumped
get the
affair;he did
not
nose!"
get up
bother
Yes
"
him*
altitude
to
was
so
meaning
an
me
your
from
in the usual
with
but
about
when
it till it
To
that I learned
indicated to
He
study-days
my
see
pedagogue
offering a fine
was
as
me
of that word.
there
can
upon
he
right.
was
would
not
work
with
all
one
succeeded
64
by
his
own
study and
TAUGHT
RUBINSTEIN
HOW
force to reach
mental
point which
desired
the
the
he
see,
had
gained
reliance
the
made
in
him
his
own
his way
"
twice,
or
is
aspiration
honest
I
once
it is prone
Because
or
these two
liable to
an
liable to do.
said to
once
me:
cult?
diffi-
why piano-playingis so
know
you
with
one
every
Rubinstein
recall that
Do
as
to
be either affected
mannerisms;
and
when
are
luckilyavoided then it is
pitfalls
be
dry! The truth lies between those
"
three mischiefs!"
it
When
debut
Hamburg
D -minor
come
works.
was
under
his baton
with
at last to
So
study with
one
time
of his
of it! I stillsee
seated
him
his
him,
as
if it were
in the greenroom
my
own
had
own
posed
dis-
but yesterday,
of the Berlin
;"
65
PLAYING
PIANO
Concerto
some
his
and
"
but
is not
And
own
resources.
rehearsal the
the whole
the
great
seventh, but
the last
master
embraced
in
well, I
"
the
Rubinstein, Rubinstein
simply had
splendidly.
that
(and only)
before
me
not
was
"eighth"
myself,for
satisfied! The public
to
was
be!
The
concert
debut
memorable
in
Hamburg,
went
directly
to
would
then
March
him
see
off
went
was
see
in
heaven!
which
on
to
me
Everything was
After
he left
After
orchestra,and
other!"
each
even
my
understand
we
necessary;
14, 1894, I
eyes
brought
me
and
He
angry
I made
raised
and
both
half
my
request.
fists and
ef
-laughing:
60
thundered, halfEt
tu, Brute?
"
RUBINSTEIN
HOW
But
the
wish
my
in
portrait
Then
him
him
to
reproduce
when
I should
play
consternation
my
he
for
swered:
an-
"
Never!
my
He,
this article.
again, and
In
granted,and
was
I asked
"
TAUGHT
generous
not?"
then
said to
"
"
"
he added:
why,
I
go
"
And
to the devil!
only too
saw
never
saw
that he returned
St.
don't know
he smiled
it seriously,
and
Rubinstein
to
Petersburg,and
it yet,
"
he said it he meant
if you
I left him.
again. Soon
his villa in
as
after
Peterhof, near
there he died
on
ber
Novem-
19, 1894.
The
never
how
I loved
him
as
if he
were
my
PIANO
while
lish papers
by Chopin happened
I struck
as
the whole
March
if
as
command
by
bowed
to be
audience
cital
re-
Sonata
the programme,
on
of the Funeral
from
rose
remained
and
for
B-flat minor
their seats
standing with
heads
of the
A
booked
was
The
the twentieth.
on
and
London
from
route
en
was
where
Cheltenham,
to
PLAYING
piece
"
our
in hon-
cert
singularcoincidence occurred at my conthe precedingday
the day of Rubinstein's
on
"
death.
this
in E-flat
Polonaise
had
but
recentlywritten
to
called
"
minor
me.
He
Souvenirs
had
Rubinstein
which
in Dresden
included
de Dresde."
of
and
cated
dedi-
it in the
This
set
piecehas
Funeral
March
was
that I
was
was
ing
singbut
RUBINSTEIN
HOW
heart
later
years
the
of
proceeds
Fund.
from
me
or,
and
feel
at
as
best,
private
as
if
between
it
belonged
and
us
always
to
two.
the
piece
For,
something
were
where
excluding
time
the
niversary
an-
Rubinstein
this
performance
still
it
the
recital,
repertoire.
me,
on
the
to
played
public
initial
if
gave
myself,
to
was
Petersburg,
have
to
its
St.
Polonaise
same
It
devoted
and
my
of
in
dedicated
was
time.
memory
then
home
at
last
which
Since
once,
it
his
this
played
death,
his
of
honour
and
second
of
in
of
suddenly,
away,
failure.
Two
for
passed
master
great
my
TAUGHT
my
only
it
tirely
en-
though
stances
circummade
master,
persona]
Indispensables in Pianistic
Success
"THE
Are
Indispensables
the
not
much
Nothing
This
of real worth.
in which
in any
offer
them
years
ago
of
orchestra
the
idea
it bore
because
city which
there
It
cities,and
to
enough
to
most
Some
this country
to
famous
with
it
accept
just
European
one
good
orchestras
orchestra, but
in
audiences
find
this out,
resulting
and
than
call my
to
best.
American
face
of America,
the
it took
failure, which
place
character,
would
of
was
better
the
it is futile to
the
brought
name
possessed
were
concerts
but
people
the
world.
of the
world, and
very
longer
glad
am
second-class
the
that
lived
probably
are
conductor
success
take
can
anything
a
Success?
especiallytrue
which
of the
people
in all
I have
Americans
traveled
an
is
country
other, and
home.
Pianistic
indispensables
same?
the
in
the
conductor
American
just two
in
was
personally defray.
70
trous
disasman
The
PIANISTIC
lems
SUCCESS
indispensable,
yet
are
and
usually men
development
the musicians
of broad
women
are
are
cultural
to
willing
for it.
work
"Nor
I concede
can
that
very
velope
finelyde-
of
remarkable
fashion.
acute
for him
if he
key
it sounded
"
ears.
He
seemed
Indeed, it
to
was
have
tremely
ex-
often impossibl
position
identifya well-known comheard
it played in a different
to
so
different to him.
Mozart
absolute
do not
acute
sense
of
of absolute
hearing,or highly developed sense
one's real
to do with
pitch,has very much
musical
ability. The
physical hearing is
72
PIANISTIC
SUCCESS
"
for
a
instance,one
closelywith
piece so
that it is hard
this constitutes
of
ity,
play in any other tonaltage.
difficultynot an advan-
to
a
"
II
"Too
much
of
be said about
cannot
made
learned
an
before I
ten
was
in my
persistently
more
the advantag
I studied
child
who
should
early life
memory
after I
is destined
receive
as
years
for
was
a
musical
much
of age remain
than the compositions
thirty. The
musical
career
instruction in
is
"
as
the student
the
PIANISTIC
child mind
is
SUCCESS
vastly more
receptive. The
child's power
of absorption in music study between
the ages of eight and twelve is simply
so
it is less between
enormous;
twelve
and
forty. It might
diagram as:
43O *"4O
.years
be
of""*
representedby
Limited
Receptivity
5fcUt Less
course,
there
and
are
development
ambition
JUmitid
Restate"
Accomplishment
Accomplishment
Less
"Of
such
some
only comparative,
of astonishing
exceptionalcases
late
in
life,due
to
enormous
skillis concerned.
"All teachers
are
aware
best
so
of the need
for the
SUCCESS
PIANISTIC
"
my
will do/
teacher
any
musical
the
been
has
source
of
education.
only
buildingof
idea would
an
thought to the
be surprised
to find himself
saying: 'Since I am only layinga foundation,
I will use
material will do.
any kind of trashy
inferior cement, plaster,
stone, bricks,decayed
and cheap hardware, and employ the
wood
But when I get
cheapest labor I can procure.
in the world!'
beginning is of
that only the
"The
such
portanc
im-
tremendous
best is
good enough.
most
expensive
the
By this I do not mean
ough,
who is thorteacher obtainable, but someone
painstaking,conscientious, alert and
foundation
experienced. The
the house
stress
course,
the greatest
of
teacher with
an
use
and
there is such
who
skill,
part of
strengthand
required. Everything must
in which
thoroughness is
be solid,substantial,firm and
the
is the
test
to stand
of time.
Of
thing as employing a
big reputationand exceptional
would
advanced
the
secure,
make
an
might
be in-
PIANISTIC
SUCCESS
and
carving.
beautiful
Just
firms which
in
as
make
decorations,fretwork,
great
cities
one
finds
of layingfoundations
specialty
for immense
it is often wise
so
buildings,
in instructing
to employ a teacher who specializes
beginners. In European music schools
this has almost always been the case.
It is
that is needed in the makeup of
not virtuosity
the teacher of beginners,but rather sound
musicianship,as well as the comprehension of
the child psychology. Drill,drill,
and more
of the
drill,is the secret of the earlytraining
and hand.
This is indicated quite as
mind
much
golf.
in games
such
of the
Think
some
very
you
will see
earlyyears
"In
as
tennis,billiards and
remarkable
records
of
young
sciences,as
one
advances,
SUCCESS
PIANISTIC
powt of lat
Greatest
"It is
encouragingfor
that he must
expect
to be
the student
to
know
confronted with
ever-
until he reaches
the
increasing difficulties,
lems
point where all the intense and intricate probsolve
to
seem
themselves, dissolving
ing
graduallyinto the lightof a clear understanda
general principle
day. This is to me
ment,
achieveunderlyingalmost all lines of human
that
it appears
to me
learn its application,not
and
should
the
student
only
to
his
ments.
occupations and attainThis
universal line of life,starting
with birth,mounting to its climax in middle
and then passingon to greater and greater
life,
of means,
until at death the circle is
simplicity
almost completed,is a kind of human
program
own
but
which
to
other
all successful
men
would
appear
to
'
77
SUCCESS
PIANISTIC
it was
which
littlemore
was
than
According
toy.
to
some
his work
done
was
He was
an
ingeniousmathematician
century.
who often startled the people of this time with
his mechanical
contrivances.
It is difficultto
"A
the
is
retort
containingwater, which
issues from
is
the tube at
in such
manner
principleis
simplicityitself;and the noteworthy fact is
that
the
wheel
revolves.
78
The
PIANISTIC
toward
SUCCESS
technical
accomplishment
and very great complexity. Fifty years
ago
technic was
everything. The art of piano
the art of the musical speedomplayingwas
eter
the art of playing the greatest number
of notes
in the shortest possible time.
Of
there were
few outstanding giants,
a
course,
Rubinsteins, Liszts and Chopins, who made
enormous
"
then* technic
subordinate
to
the
their message;
technic
with
but
dazzled
public was
one
might better say pyrotechnics. Now we find
the circle drawing toward
the point of simplicity
with
again. Great beauty, combined
rather than
adequate technic, is demanded
technic divorced
enormous
"Technic
as
money
By all means
dream
from
"
beauty.
that you
this alone.
will be artistically
happy with
Thousands
millions
of
people
believe that money
is the basis of great happiness,
only to find,when they have accumulated
is only one of the exvast fortunes,that money
traneous
details which
to real content
"Technic
is
"
may
"
or
"
may
"
tribute
con-
in life.
not
what
80
he needs
which
at the
the
right
SUCCESS
PIANISTIC
The
how
nothing;
means
the
artistic intuition
use
the tools
to
drawer
openingthe
mere
it is the instinct
to
as
findingwhat
and
when
and
It is like
that counts.
"
sion
posses-
needs
one
at the moment.
"There
is
technic which
technic
which
represses
the
technic ought to be
to
possible
perfectly
is next
to
useless.
in Paris who
liberates and
artistic self.
of
means
All
expression. It is
accumulate
technic
I recall the
case
of
studied
that
cian
musi-
mony
counterpoint,har-
was
"
the start.
must
Neither
balance
the
be studied alone;
can
other.
course
81
The
teacher
one
who
in strict technic
PIANISTIC
SUCCESS
unbroken
is
by the intelligent
study of real music,
an
producing a musical mechanic
artisan,
"
not
artist.
an
"Please
do not
quote
against technic.
me
as
tribe
dia-
I believe in technic to
in its proper
making
place.
Rosen-
possess
instance,one
For
are
unnecessary
hears
and
now
in
piano practice.
trulybeautiful
well-playedscale is a
thing,but few people play them well because
they do not practicethem enough. Scales are
the most
difficultthingsin piano playing;
among
and how the student who aspiresto rise
above mediocritycan
hope to succeed without
drillin all kinds of
a thorough and
far-reaching
A
scales,I do
I
that
I have
not
them
I do
know.
know, however,
in them,
unrelentingly
gratefulfor this all my
drilled
that
Do
not
was
been
despisescales,but
and
life.
beautiful.
"The
clever teacher
piece that
will
always
of the technical
means
use
employed.
82
find
and
some
result
There
are
SUCCESS
PIANISTIC
of such
when I
the very start; and it is what I mean
say that the work of the pupilin technic and in
appreciationshould
from the beginning.
musical
hand
go
in hand
IV
"The
use
of the
with
"
poor
fortuna
art in itself. Un-
it is
many
shield deficiency
and
pedal is an
cloak
touch.
to
an
expedient to
cover
up
It is employed
curacy
inacas
the
tonal
mass
of the orchestra.
83
The
wind
instru-
PIANISTIC
usually make
ments
the music
the rehearsal of
then
and
when
provide certain
lifetime.
One
to
mean.
introduce
effects is almost
From
the
alone, and
instruments, will
wind
I
who
great orchestra
has heard
"How
of background for
sort
has attended
and
SUCCESS
pedal to
study of a
the
the
start, where
very
the
student
in the most
study
subtle and
of
pedal is continuouslya source
interesting
experimentand revelation.
of the
the most
"There
should
be
no
hard-and-fast
rules
pedal. It is the
branch of pianoforteplaying in which there
must
always be the greatest latitude. For
instance,in the playingof Bach's works on the
been a
to have
modern
pianofortethere seems
very great deal of confusion as to the propriety
Bach
of the pedal. The
music,
of the use
the keyboard of the
which is played now
on
modern
piano,was, for the most part, originally
governing
the
use
of the
84
SUCCESS
PIANISTIC
clavichord
The
in
peopledo
that many
at hand
or
the
know
not
the
on
and
was
of
as
tained
sus-
contradictory
and
the fact
whether
position
com-
try to imitate
by holding the pedal all the
of the time, while others try to
most
of them
some
sembling
re-
was
or
time
the organ
of sound
instruments
of these two
sound,
touch
staccato
present-daypiano,whereas
is capable of a great volume
to
quality. Due
nature
short
very
the
way
or
ries,
theo-
extreme
of all extreme
case
use
theories,are
undoubtedly wrong.
"One
have
may
the clavichord
to
has
a
mind
in
in mind
the organ
in
be nothingwrong
can
transform
the modern
forte,
piano-
tonal attributes,
distinctly
specific
clavichord
or
into
an
organ
must
tonal abuse.
in
part of the
the couplers
or
85
PIANISTlC
camouflage
to
so
to
make
SUCCESS
is
Even
instrument
an
pianoforteas
it sound
clavichord.
of the
the tone
which
is out
of
date,
this instrument
you
would
realize
different from
that its action is entirely
lat once
instrument
another
Why
not
make
of
piano
different mechanism?
always endure
music in a varietyshow and
in Carnegie Hall?
Must
we
like
piano?
to Wagner's
listening
sound
to Strauss' waltzes
V
"If
one
were
thing in the
would
say:
indispensable
of a pianist,I
education
of all, a good guide.' By
to ask
'First
me
what
is the
SUCCESS
PIANISTIC
with him
thanked
and
Von
criticism.
him
and
Billow
ing
do you thank me ? It is like the chicken thankwho
had eaten
the one
it,for doing so/
Von
that
Billow, on
jumbled
Moszkowski
possiblefor
be
might
with
manner
that I asked
engagement
few
days
'Let
is
Billow
von
I knew
which
Billow
going to
to
keep a
him
for that.
alone
to do
it
cert
con-
to have
Moszkowski
If he sets out
him.
in the world
how
later in Berlin.
von
know
same
:
replied
You
don't
something, he
do it.'
Billow's
first undertook
he
train me;
to
but
objectis
though
'The main
said to me,
music sound right,even
to
you
he
make
"
was
"
that
would
lead
to beautiful and
to
in his eyes.
justifiable
to the student let me
Finally,
to
there
Any
fine artistic
effective
88
the
have
often
sults
re-
performancesay:
'Always
SUCCESS
PIANISTIC
work
a
reliable
depend
of
would
the
its dictum
guided
in
me
and
Fate
wife.
tempted
and
into
tours,
plays
else
factor
is, after
guidance.'
"
course
lady,
who
r61e
depend
may
when
eleven,
I
the
was
Eustis.
Little
of
woman,
all
girls introduced
would
its
which
astrology
of
young
of
the
1887,
B.
fallacious
the
everything
biggest
young
hundreds
my
known
un-
child
James
this
that
during
of
in
In
as
Senator
I dream
believe
stars.
to
the
coincidence
terrestrial
Washington
of
hundreds
of
career.
always
introduction
our
the
by
is
and
so,
your
there
one
that
introduced
daughter
did
make
to
as
advice
the
"
do
possibly
advice
Secure
best.
your
can
strangeness
almost
played
was
fate
do
to
you
best
the
"
be
his
upon
element
and
if
mentor
with
Even
strive
and
hard
day
some
"
but
do
to
be
that
success
upon
fate,
for
work
and
my
be
not
belief
all, hard
the
the
ligent
intel-
PIANO
QUESTIONS
ANSWERED
JOSEF
HOFMANN
AUTHOR
TO
LITTLE
TWO
BY
OF
BOOK
HUNDRED
ASKED
"PIANO
OF
DIRECT
AND
BY
PLAYING'
PIANO
FIFTY
ANSWERS
QUESTIONS
STUDENTS
PHILADELPHIA
THEODORE
PRESSER
1920
CO.
ALL
INTO
RIGHTS
FOREIGN
COPYRIGHT,
INCLUDING
RESERVED,
INCLUDING
LANGUAGES,
IQOQ,
THAT
BY
PUBLISHED,
OP
SCANDINAVIAN
THE
PAGE
DOUBLEDAY,
OCTOBER,
TRANSLATION
"
1909
COMPANY
CONTENTS
TECHNIQUE
3
1.
General
2.
Position
of
3.
Position
of the
4.
Position
of the
5.
Action
of the
6.
Action
of the
7.
Stretching
8.
The
Thumb
9.
The
Other
the
Body
Hand
.6
.
Fingers
Staccato
12.
Legato
13.
Precision
14.
Piano
15.
Fingering
16.
The
11
Arm
.
12
14
11.
Weak
Wrist
.
10.
"
16
Fingers
...
18
Fingers, etc
21
.22
.
25
Touch
Organ
vs
Touch
26
.
27
.....
29
Glissando
....
29
17.
Octaves
18.
Repetition Technique
34
19.
Double
35
Notes
....
THE
INSTRUMENT
35
THE
PEDALS
39
.45
PRACTICE
MARKS
AND
57
NOMENCLATURE
"
CONTENTS
vi
FAAZ
CERTAIN
ABOUT
75
COMPOSERS
AND
PIECES
1.
Bach
80
2.
Beethoven
83
3.
Mendelssohn
85
4.
Chopin
86
AND
EXERCISES
93
STUDIES
....
POLYRYTHMS
96
PHRASING
98
RUBATO
100
CONCEPTION
102
FORCE
OP
104
EXAMPLE
104
THEORY
THE
112
MEMORY
SIGHT-READING
117
ACCOMPANYING
117
TRANSPOSING
119
BAD
PIANO
THE
ABOUT
120
PEOPLE
FOR
PLAYING
....
127
SE
PER
133
MUSIC
135
ETHICAL
THE
STUDENT'S
TEACHERS,
MISCELLANEOUS
MATTERS
KINDRED
AND
PITCH
LESSONS
.136
.
138
AGE
AND
QUESTIONS
140
METHODS
.150
.
viii
PIANO
QUESTIONS
are,
they are
basis for the replies.Any
as
a
advice given to some
particular
needful
rule
or
individual
and
intelligence
modified
so
to fitone's
as
own
lar
particu-
the
questions
two
points
naturally
case.
There
are,
in addition
to
the
to
occur
student.
The
average
discuss those here is too
opportunityto
favourable
to
be
allowed
of
they hardlyadmit
I
to
venture
to
and
pass,
as
preciseclassification,
offer them
here
as
brief
foreword.
To
the
various
hundreds
times
have
of
students
asked
me:
who
What
at
is
does
not
atoms; as
that have
exist.
As
the
world
consists
of
small things
infinitely
the microscopeinto the
it is the
forced
scientist's hand,
so
does
art
contain
berless
num-
small, seemingly
things
insignificant
FOREWORD
ix
visit dire
which, if neglected
entirely,
the
upon
student.
Instead
geance
ven-
of
are
none!
Unquestionablyit
does
sometimes
him
for
happen
that an
artist suddenly acquiresa
In such
wide
his leap
renown.
case
a
but merely into the
not into greatness,
was
public'srecognitionof it; the greatness
must
have
been
before the
there
was
that
us
time
some
of it. If
publicbecame aware
the
not
leaping,it was
any
the publicthat did it.
artist,but
Let
in
not
there
close
have
our
been
eyes to
and
the
fact
probably
artists that gain a wide
always will be
without being great; puffery,
aided
renown
is quite
by some
personal eccentricity,
able to mislead the public,but these will,
at best, do it only for a short time, and
"
"
PIANO
the
QUESTIONS
of
collapse
there
such
be, is
must
as collapse
reputation,
always sure, and sad to
a
behold.
The
of mind,
buoyancy
so
soar,
its
for both
necessary
to
ability
creative and
summit
foot before
lift one
to
should
we
quitesecurelyupon
to
"
illustrate
"
not
be
careful
the other
its
rests
one
step. One
not
should
be satisfied with
the
of "getting
difficult
through" some
ability
"by the skin of the teeth" or
passage
"without
breakingdown," but should strive
to be able to play with it,to toy with it,
in order
to
have
it at one's beck
fingers.One
over
should
and
call
play
only the
acquire sovereignty
to
it.
is technique. But
sovereignty
techniqueis not art. It is only a means
to achieve art, a paver of the path toward
This
"
FOREWORD
xi
it. The
danger of confoundingtechnique
with
itself is not
art
inconsiderable,since
"
"
music.
be
as
For
The
easilybe degradingand
therefore,
they can
demoralizing.
makers
sinners among
musicprobablyin the same
proportion
are
not
upon
but
solely upon
The
student
his auditor's
but
the
his
should
ear
musician's
never
with
should
moral
by
tendencies.
strive to dazzle
mere
endeavour
technique,
technical brilliancy,
to
gladden
and sensibilities,
feelings
transmittingnoble musical
QUESTIONS
PIANO
xfi
his mind.
thoughts to
He
should
charlatanish
all unnecessary,
and strive ever
for the
scorn
externalities
inwardness
of the
for, in being
compositionhe interprets;
honest to the compositionhe will also be
himself
and
honest
to
thus, consciously
his
not, express
musicians
were
sincere
there
neither
or
could
be
among
them;
toward
their
not
best self.
own
in
this
endeavour
nor
envy
advancing hand
ideal
common
helpbeingof
If all
jealousy
in
they
hand
could
assistance to each
mutual
other.
Art,
not
unlike
which
around
needs
religion,
its devotees
altar
an
congregate.
may
erected
such an
of devotion
to
art.
Rubinstein
did
same
in St.
of Liszt's and
derful
won-
there have
emerged
personalities,
of highlymeritorious and
largenumber
some
eminent
have
lacked
to
Rubinstein's
withstand
material
artists.
the
of them
many
in their later life
That
power
the
temptations of
gain by descendingto
quick
lower
planeis to
Many
be
FOREWORD
xiii
but
regretted,
called, but
are
such is life-
"
few
are
chosen.
those
The
artists of talent
longergroup
of genius.
the
around
themselves
man
Perhaps he is not to be found just now.
little celebrity
the pianists
Each
among
and all
keeps nowadays a shop of his own
himself.
to
Many of these shops are
of
them
"mints," and
some
produce
counterfeits.
As
no
matter
or
course,
this
separative
system precludesall unification
of artistic principlesand
is, therefore,
to the present generation
of
very harmful
students.
The
discriminate
honest
between
masked,
cleverly
real art
which
student
these,
who
will
sometimes
altar must
be
of
character
in
are
highprinciples
natively
ingrained.
It might help him somewhat
to remember
that when
there
is no
good to choose
we
can
always rejectthe bad.
is true of teachers is justas true
What
of compositions.
The
student should not
xiv
PIANO
listen to
QUESTIONS
should
"
least, repeat
at
not,
bad compositions,
hearingof
though
they may be called symphonies or operas.
the
"
he
And
in
can,
his
relyupon
considerable
measure,
own
probablywill not
fully
the depthsof a new
fathom
symphony at
but he must
have received
its firsthearing,
general impressionsof sufficient power
He
may
not
and
"
"
him
hear
not
of
sense
mere
avoid another
loss
of
good,
morphine, and
should
musical
shun
are
we
natural
music
other
their
opiatesare
our
ear
apt
to
to hear
lose
is tantamount
it, which
of modern
much
again from
accustom
cacophonousmusic
to
work
the
he
far wiser to
duty; it were
hearing,for habit is a strong
factor,and if we
aversion
is absent
this wish
hearing. When
should
taste.
It
our
to
is with
it is with
opium,
deadly drugs. We
as
very
touch.
sometimes
These
tured
manufac-
bear
The
student
xvi
PIANO
the
QUESTIONS
its
pockets of
perpetrator,it should
of any
man
do
can
The
good
Passive resistance
woman.
or
deal
on
these
of abstention
matter
premises.
from
evil from
recalls to my
mind
which Americans
should
it is the
curious
of music
type
music
that
better
and
than
be
abstain;
tion
superstiabroad
studied
While
here.
another
out-of-date
can
certain
their
number
very
in
of
The
so
far
returningto
duty of
as
these
America
American
men
do
except
not
as
think
visitors.
good music is to
capable teachers as
of
Europe of
If
The
here.
remain
our
"finished"
sets him
in
tour
and
to
see
of
students should
music
make
Europe. The
sure
by
his teacher
reconnoitring
change of views
a
in certain directions.
will be
cease!
doubt, broaden
will, no
speaking,he
should
is understood
what
free,he may
such
emigrationto
customs
mind
it that
still here
are
mass
has
student
xvii
FOREWORD
But
his
musically
of the enchantment
here.
the
fact that
stillin music
direction.
advancing
must
cease
to-daywith
At
their
any
cognizanceof
country has
more
than
not
stood
in any other
recorded
an
has
year
step in its development. We
the Europe of
to
compare
Each
the America
present there
number
take
should
Americans
is
an
of clever and
of
fifty
years ago.
astonishingly
large
capablemusicians
PIANO
xviii
QUESTIONS
and,
in America,
with
good physicians
and
lawyers, their abilityusually stands in
inverse
of their
proportion to the amount
advertising. It is these worthy teachers
of "studying
sake the superstition
for whose
should
abroad"
produced
of
law
he
has
What
acquired by
that
attraction; now
and
fair
be foresworn.
Sam
and
as
Uncle
not
directly
the
natural
ented
talmany
instructors, both native
learned
so
far
as
teacher
can
do
it,instead
not
have
devoted
so
many
words
to
it.
some,
he
remember
limitless
need
not
feel disheartened,
he
belongs to
possibilities."
that
JOSEF
the
"land
HOFMANN.
but
of
PIANO
QUESTIONS
TECHNIQUE
1.
What
the
are
which
one
is the
difference
GENERAL
different
techniques, and
What
generally used?
is most
between
is
Technique
them
generic
legato, and
octaves,
touches
staccato
shadings. They
make
up
Why
do
term,
the
the
as
all
are
prising
com-
double
various
dynamic
to
necessary
complete technique.
pianists who
than
nique
well
as
have
others
many
tech-
more
practise
more
r
.*
."
than
these
Why
.,
have
than
Rothschilds
^C^"?M"
the More
more
Because
large fortune
that of
More
Practice
I have
of
work
the
The
others?
than
Doe*
What
small
one.
istration
admin-
entails
more
pianist's
portion of his
his
in
the
taries
secre-
capital.
fine
To
working
PIANO
QUESTIONS
is in itself a
considerable
trim
and
time-
absorbingtask.
that the
have
This
more
we
trait is not
the
more
we
want.
it is also
only human;
pianistic.
I
Should
endeavour
improve my
techniqueb7 tying difficult pieces?
You
should
confine
not
yourselfto
piecesthat come
easy to you, for that
Howtolm-
would
prevent all
beware
But
harder
with
"
absolute
Do
emulate
not
2.
Raise
the
Are
rectness.
cor-
those who
say:
that," without
OF
POSITION
the
best
THE
they play.
the "how."
BODY
results at the
piano at-
high or low?
by sitting
As a generalrule, I do not recommend
high seat at the piano,because this
ta;ned
Piano-Stool
Too
"
Not.
so
mastered.
Do
ress.
prog-
piecesthat are
could not play them
this would
For
technical
further
of
to
High
a
in-
PIANO
the
duces
shoulders
is, of
QUESTIONS
employment
than
rather
course,
of the
of the
very harmful
to the exact
and
arm
and
fingers,
nique.
tech-
the
to
height of the
will have
to
seat, you
experiment for
yourselfand find out at which height
can
play longest with the least
you
fatigue.
As
Is my
seat
the
at
when
height
"
same
be
piano to
practise as
the
at
when
The
I "f
Piano
have
never
arms
should
decide
you
for all time; for
"
for
yourselfand once
only then can
acquire a normal
you
hand
which, in its turn, is a
position,
condition sine qua non
for the development
of your technique. See also to it
that
both
feet
in
are
respectivepedals so
when
their action
stray away
pedalswhen
to
break
this will
you
is
touch
with
be
their
in
place
required. If they
as
to
and
you must
grope for the
it will lead
you need them
in your
concentration, and
cause
reallycan.
you
Height
the
to
To
play less
well than
let the
feet
stray
Seat
PIANO
QUESTIONS
the
8.
The
Tilt
of
POSITION
Should
my
tilted toward
in'pfa"^
Scales
Httle
with
hand
tne
THE
OP
in
HAND
playingscales
thumb
or
toward
in the
be
the
scales
easier to
play
The
Re-
suit* Count,
Method*
Does
POSITION
OF
it make
any
THE
it.
craves
FINGERS
difference
if my
curved
or
that
Ruben-
flat.
PIANO
stroke.
It may
up
of
QUESTIONS
be used
also in
climax, in which
fingersshould
the
working
the raising
case
increase
tionately
propor-
sufficient to
,,;"
Anlncorred
Posi-
Fingers
the
the
Where,
fingersis
climacteric
sult
re-
can
their cushions
faultytouch,
teacher, assisted
your
under
the head
of
nothingwill correct
by a good
supervision
by a strong exertion of
will power
whenever
you
own
are
fingers
pressed down
which
the constant
but
the fault of
I correct
and
strictest attention
The
in
day.
be thrown
off
QUESTIONS
PIANO
ACTION
5.
stillin
lessen
hands
but
still,
"?
or
in
permissible
arpeggio?
should, indeed, be
of the
stiffening
will do
much
to
counteract
a
impossibleto
complete looseness of
piano-playingbecause
that
be
it not
Is
kept
wrist.
good test
long
the
connect
preserve a
the
wrist
in
of
the
forearm
muscles
with
the
hand?
By
to
no
You
means.
it that you
do
as
unconsciously,
should
arm
on
the
be
line with
concentrated
to
playing
Scales
Hence, an occasional
of the wrist, upward and
motion
this
tn
rise
passages
arpeggioseasilyinduce a
or
downward,
//ancfc
occasional
an
stiff. Protracted
not
scales
Don't
kept perfectly
Shy? Or, (fn*/K
arpeggios
r
of scale
passage
The
and
fatigue,is
and
of
WRIST
be
scales
playing
r
to
THE
hands
the
Should
OF
only see
not
playersdo.
most
held
should
so
it, not
The
bent, and
by
deavour
thinkingyou should ento transfer the displayof force
instead of holdingthe
finger-tips
The
Wrist
Loose
PIANO
10
QUESTIONS
in your arm.
while the way
fatigue,
For
tension
this
produces
suggestwill
lead
practically
limp and loose. It takes
months
of study under
closest attention,
however, to acquire this looseness of
arm
the
The
Pom-
tion
of the
arm.
of
you favour a low or highposition
fae wrist for average type of work?
For
work, I recommend
an
average
Do
low.
position;neither high nor
Changes,upward or downward, must be
of special
made
to meet
the requirements
average
occasions.
Do
If one's
Not
any
set
Allow
the Wrist
(o
Qet
"
It
depends
stiff from
on
whether
your
wrist is
from
use.
wrong
Assuming the latter,I should recommend
studies
watch
non-use
or
in wrist
your
the
at
indication
slightest
stiffening.
rest
of
its
QUESTIONS
PIANO
6.
OF
ACTION
11
ARM
THE
What
be
difficulty
The
by
overcome
tremolo
slowly,nor
The
method, and
is the correct
with
action must
stiff
the elbow.
whence
The
or
practice?
be
practised
quiet hand.
be distributed
the
slow
cannot
a
may
over
the
and, if necessary,
shoulder forms
the
pivot
proceed
motion must
vibratory
and engage all the pointson the road to
the fingers.The division of labour cannot
be
done
should
but
consciously,
better proceed from a feelingas if the
whole arm
was
subjectedto an electric
while
current
engaged in playing a
a
tremolo.
Should
octave
chords
be
methods;
advice.
so
turn
to
you
for
i003e
PIANO
12
few
With
QUESTIONS
dictated by
exceptions,
chords
characterizations,
tain
cer-
should
ways
al-
be
Let
played with a loose arm.
the arm
pull the hand above the keys
and then let both fall heavily
upon them,
for their appropriate
preparingthe fingers
while
notes
still in the
air and
not,
as
This mode
down.
do, after falling
many
of touch
produces greater tone-volume,
is least
and
fatiguing,
will have
no
bad
after-effects.
STRETCHING
7.
Fatiguing
the Hand
I stretch beween
tne
my
how
many
Stretchingtryingto see
It has
them.
between
If,
your
"
seconci
shall I be
fingers taking
doing wrong
keys I can
helped me,
get
but
to continue?
as
should
you
hand
may
its stretch
these
of
beware
show
while
exercises,if
afterward
contract
liable to
become
before.
that
its stretch is
than
it
was
PIANO
QUESTIONS
13
Any
your hand,
that will be
causes
any
to
applicable
due
be
devise
can
lack
the
As
hand.
may
"
modern
to
of
advise you
stretch exercise that
kind
by
stretching
I*
different
might
be
ommended
rec-
close
amination
ex-
of your
exercise
of
bound,
Hand
desist from
to
without
you
the
u"
of stretch,however,
I should
to
Not
particular
your
number
exercises
Do
to
hand
my
taves
My
definite
The
stretch
so
on
to
as
this
to
hand
lead
widen
by
easilyto disastrous
by just such attempts
rendered
his
me
to
score.
attempts
of the
enable
hand
the
natural
artificialmeans
results.
that
useless
It
was
Schumann
for
piano-
is
playing. The best I can recommend
that before playingyou soak your hands
in rather
hot
water
PIANO
14
and
then
QUESTIONS
while
"
still in the
water
"
stretch the
of one
hand with the
fingers
other. By doing this daily you
will
gain in stretch, provided you refrain
from forcingmatters, and provided also
that you are stillyoung,
flexible.
are
8.
"What
What
is
is the
^ifhlT* cannot
Scales?"
use
the
overcome
hands
your
THUMB
matter
P'av t^lem
jerk when
I
THE
and
with
wtthout
thumb.
my
unevenness
scales?
my
perceptible
How
can
in
answering this questionI am
is exthe positionof a physicianwho
pected
for a
treatment
to prescribea
he has neither examined
patientwhom
In
nor
seen.
even
can
therefore
advise
I have
as
generalway
to avoid the
done with many
questions
by an
eventualityof being confronted
The
of the
cause
exceptionalcase.
in the passing of the
unrest
hand's
the
lies usuallyin transferring
thumb
waits usually
thumb
too late. The thumb
only in
very
"
when it is needed
until the very moment
and then quicklyjumps upon the proper
key,instead of moving toward it as soon
PIANO
16
the
QUESTIONS
difficult
most
thing to
do
on
the
piano?
"
How
What
to
H
Thumb
is the
thumb
Should
the hand
positionfor
correct
{i be CUrved
the
wel1 under
while
playing?
the thumb
In scale-playing
should be
curved
and kept near
the index
slightly
fingerin order to be ready when needed.
In pieces this positionof the thumb
cannot, of course,
always be observed.
Should
specialattention
pay
^e' the trainingof the thumb ?
Which
mand
one
Most
It may
Attention?
middle
be
"
said
"
that
the
thumb
and
to
the
They
greatest attention.
your
Above
to it that, in
all,you must
see
touchingthe keys with these fingers,
you
do
not
the
crave
move
whole
arm.
9.
The
the
What
for the
and"Fiftk
THE
OTHER
FINGERS
exercise would
you recommend
trainingof the fourth and the
?
Finger* fifth fingers
Any
collection of Etudes
is
sure
to
PIANO
contain
that
some
trainingof
find
adapted
two
9, 10,
case,
your
the
fingers.In
the
11,
14,
but
do
print!
In
is of far
pin
not
more
quence
conse-
Play what
pointsin
remedy.
Keep
hand
while
can
you
and fifth fingers.
and
arm
real
loose
as
trainingthe
as
20
19,
all matters
"what."
the
than
to
(Bulow's selection)you
Nos.
to
17
devoted
are
those
Etudes
Cramer
will
QUESTIONS
fourth
making wide
little fingerstrikes
In
instance, in
ments,
should
the littlefinger
or
the
fingerbe
strike
one
on
curved
its
side;and
held
or
the
on
more
end
of
should
or
less
flat?
The
little
strike
fingershould never
with its side. It should always be held
in its normally curved
condition, and
straightenat the stroke only on such
occasions
when
insufficient and
of the
wrist and
its
own
force
requiresthe
arm
muscles.
proves
assistance
PIANO
18
How
To
of
Finger
Use
It
QUESTIONS
10.
WEAK
can
strengthenthe
risnthand
mv
ETC.
FINGERS,
l avoid
littlefinger
u in
PIaving'
The
What
Weak
exercise would
the
of
fingers
Hand
trill with
you recommend
fourtn and fiftn
?
various
touches, with
the
What
F"Seem
^ou
Weak
kind
adv*se
strong in
with
good
of
technical
work
to ta^e to make
me
the
work
shortest
time
mv
would
fingers
consistent
If your fingers
are
unusuallyweak it
be
that your
assumed
muscular
may
constitution
in
generalis
not
strong.
QUESTIONS
PIANO
in that
case,
lead to
will have
You
fingersalone will,
the
trainingof
The
to
19
decisive results.
no
strive for
general
muscular
fibre.
of your
strengthening
this
At
point, however, begins the
province of your physicianand mine
ends.
tion
constituconsider your
you
normal, four or five hours' daily
If
at
Is it
the
always
jump
not
from
the eye
on
watch
the
No
Ne-
to
cessity
?
*1"
the
one
distance, there is no
to
necessary
Watch
nngers
note
IM
andJ
slide,
to
need of
the
Fingers
another
keeping
them.
injuriousto Bitingthe
bitingthe finger-nails
the piano touch?
%"?"r
Nails
the
nails
or
Certainly;biting
any Spoilsthe
Touch
other injuryto the finger-tips
and hand
will spoilyour
touch.
Extreme
liness
cleanand
in cuttingthe nails
care
the proper lengthare
to keep
necessary
Is
your
the
hands
piano.
in
condition
for
playing
PIANO
20
To
How
Prevent
Sore
QUESTIONS
I
finger-tips
prolonged playing,from feeling
can
after
prevent my
next day
Tips After sore
Playing
Experienceteaches
?
tne
After
remedy.
at
in
once
either cold
us
the
Dis-
or
In the
similar
some
to
student
man
of
each
on
piano; for
*
side when
the
black
playingbetween
Unless
unusual
an
fatty
speed
developmentof
of the skin
rigidity
with
broad-tippedfingersconsidered
Are
advantage keys
broad-tippedfingersare
thickness
obstacle
I do not
in the way
well
on
piano,the
is a great hindrance; it makes
fingers
feel as
if we
played with gloveson
fingers.
Tipped detriment
Fingers
Not
them
rub
cream
the
the
your fingers
with soap and
water,
then
substance.
Broad-
playingwash
warm
brush, and
on
cases,
in many
as
that in such
ones,
space.
never
consider
of
an
them
of
be struck between
"
"
the black
but
PIANO
QUESTIONS
is of far
of the hand
greaterimportance
than
pianist
21
which
playinga piecein
When
of
the
and
measure
half
or
two
rest
What
to do
lth the
measures
should
not
mannerism.
11.
What
STACCATO
I do
can
wrist staccato
to
enable
me
play Wrist
cato
fatiguing
to
thearm?
Change
Stueat
Tempo
your
wrist
staccato
for
PIANO
22
littlewhile
QUESTIONS
to
fingeror
staccato,
arm
thus
to
The
Differ- What
ence
js not
does
"fingerstaccato"
staccato
always done
between
"Finger
Staccato"
Other
ana
Kinds
mean?
with
the
fingers?
By no
,*
frned
means!
There
staccato,
is
.
arm
staccato.
finger
by a touch similar
a
The
well-de,
staccato, and
latter is produced
wrist
to the
rapidrepetition
that is, by not
touch
allowingthe
the
fingersto fall perpendicularly
upon
keys,but rather let them make a motion
if you were
as
wiping a spot off the keys
without
the use
of
with the finger-tips,
the arm, and rapidly
pullingthem toward
"
the inner
no
Ad-
Over
should
take
LEGATO
Is it better for
staccato
"lto
vantall
Staccato
arm
part in it whatever.
12.
The
The
hand.
me
to
practisemore
?
legato
for it
Give the preferenceto legato,
producesthe genuinepiano tone, and it
develops the technique of the fingers;
touch always tends to
while the staccato
If you play
into action.
draw the arm
or
more
PIANO
24
QUESTIONS
into
turn
could
be
said, but
still I think
that the
Firm
Legato
Touch
confused
am
leSat"touch"
Wherein
and
Legato means
which
Two
are
tones
kinds
for
together,"
we
not
"firm
by the terms
"CrisPlegat"touch."
are
connected."
either connected
connected.
of
"
The
idea
or
they
of various
QUESTIONS
PIANO
until
the
25
generated
by the next fingerhas been perceived
This rule governs the playing
by the ear.
In rapid
of melodies and slow passages.
its
leave
key
tone
by
mechanical
strictly
more
nevertheless, always be
should,
there
but
means,
two
simultaneously
occupied.Do
fingers
not
take
of
to
the
differentiations
over-smart
legatoseriously.There
the word "legato."
13.
My teachers
for playingmy
right. It
my
habit,but I do
How
can
This
worst
and
cure
is
no
plural
PRECISION
have
always scolded
left hand
is
me
littlebefore
Not
^J^16
probably a
not
hear
it?
"limping,"as
it is
called,is the
it when
you
do
not
Play-
at
26
PIANO
QUESTIONS
"hear"
it when
"limp"; it seems
you
that you do not listen.
to me
likely
Hearing is a purely physicalfunction
more
which
you
while
is
listening
cannot
it
"
while
prevent
act
an
to
means
awake,
of your
power
will-
give direction
to
hearing.
your
14.
PIANO
TOUCH
ORGAN
VS.
TOUCH
Playing
Affectsthe
Pianist
Inasmuch
various
the
as
force
01
touch
and
its
irrelevant
gradationsare entirely
who playsmuch
organ, the pianist
on
the
on
the organ
is
than
more
liable to lose
for tone-production
of feeling
delicacy
and this must, naturally,
through the fingers,
lessen his power of expression.
the
Organkc
Piano
Touch
js ft true
lessons
that
an
on
child
organ
beginningmusic
gets much
better
beginningon a piano,and
after
(joeg tne gj(je stu(iyOf pipe-organ,
two years of extensive piano work, impair
the piano touch ?
It is only natural that a child can
get
tone
than
better tone
one
out
piano,because
of
an
it is not
organ
than
on
QUESTIONS
PIANO
that
organ
child's
produces the
purpose,
leave
of
art
the
touch
"
however,
be wise to let
this
because
the
"
entirelyundeveloped.
has
piano touch
it can
easilybe undone
him play on the organ.
15.
learn
is to
essential element
if his
And
If the
tone.
it would not
piano-playing
him
begin on an organ,
would
27
been
formed
againby letting
FINGERING
In what
".
which
the
oners
There
Many
is
no
System of
Marking
Fingering
fingering.
greateradvantages?
"American"
ago the
"English"fingering
(which counts
only four fingersand a
thumb, and indicates the latter by a plus
mark:
+) was
adopted by a few of the
less prominentpublishers
in America; but
it
years
was
pieceof
you
abandoned.
soon
may
If you
be
certain
obtain
more
modern
of the universal
Englishfingering
that it is not
edition,and I would
recent
have
one.
of
advise you to
tage
The advan-
lies in its
fingering
in the circumand
stance
greater simplicity,
that it is universally
adopted.
PIANO
28
Do
The
QUESTIONS
advise
you
f"r
fingering
Fingering
the
of the
use
C-scale
Is it prac-
forAll ticable ?
Scales?
The C-scale
is not applicable
fingering
reposingon black keys because
to scales
it
creates
unnecessary
masteringof
rather of
the
difficulties,
would
which
be
sport than of
mere
matter
art.
"
^1
Scale
.1
right thumb
Ine
always
-n
upon
and
Between
upon F and C.
three or four consecutive fingers
use
often
as
as
At the
convenient.
beginning
Fingers ^e
Needed
to
not
selection
^ne
execution
the
.-.,
upon
is
use
Play a
Mordent
executingthe mordent,
When
The
or
the
nngers
for
the
depends always
precedingnotes or keys which
of
mordent
lift the
cannot
lead up to it. Since we
for the pose
hand justbefore a mordent
purof changingfingers
(forthis would
mean
use
rude
whatever
we
interruption)
happen to
fingers
have
be
to
"on
PIANO
An
QUESTIONS
29
of
fingersin a
of any
is seldom
mordent
advantage,
and
for it hampers precision
evenness,
since, after all, each fingerhas its own
hand."
exchange
tone-characteristics
16.
THE
GLISSANDO
To
Play
is
"
direction,or, if you
the
index
find it easier,
The
fingerdownward.
of
is
should
so
great a volume
duction
pro-
of tone,
as
modern
piano, has
necessitated a deeperfall of the keys than
and this deeper
former pianospossessed,
dip has banished the glissandoalmost
from modern
entirely
piano literature.
possibleon
our
17.
Should
'
hinge"
usingthe
play
stroke
arm?
OCTAVES
from
using
octaves
the
I find I
wrist
can
the
or
get more
by
How
Best
l"hePla
Octaves
PIANO
30
QUESTIONS
stroke, but
by usingthe arm
play so rapidly.
tone
the
of
character
The
govern
the selection of
them.
For
for heavier
draw
must
octaves
to
means
lightoctaves
ones
cannot
produce
the wrist,
use
more
upon
the
of the
hand, for
octaves
arm
the
high one.
Rapid
Octave*
method
Please suggestsome
rapidlyto
octaves
be
octave
some
grateful also
etudes
playing
finds this
who
difficult part of
the most
Would
one
of
piano-playing.
for
naming
be
that could
used
in the
repertoire.
to be "the most
If rapidoctaves
seem
to you,
difficult part of piano-playing"
indication that they do not
take it as an
suit
never
not
your
nature.
change
your
"method"
nature.
discourage
you, however;
This
it is
will
need
only
32
PIANO
QUESTIONS
is hardlypossible.A striving
consciously
of force and the least possible
for economy
fatiguewill produce this "division of
labour
unconsciously.
"
When
Wrist
sages"
r"Long
Octave
"The
Passages fa
to
playing extended
an
pas-
Liszt arrangement of
Erlking,"should the endeavour
sucn
tne
as
aU
ja
stroke; or
by
octave
from
occasional
vibration)from
impulse (a
the
any advantagein
the wrist?
forearm
sort
Is
of
there
varyingthe heightof
playingit is well
of the wrist, now
to vary the position
high and then low. The low position
into action, while
brings the forearm
In
the
extended
whole
arm
octave
cooperates when
the
PIANO
In
playingoctaves
notes
wrist
my
T
I
can
QUESTIONS
remedy
to
seems
other
double
stiffen. How
stiffWrists
in Plavin9
Octaves
XT.-
a
this ?
Stiffness in the
unmindful
or
33
of
wrist
results from
an
When
it.
practising
double notes think always of
octaves
or
holdingthe arm and its jointsin a loose,
limber
use
tigued
you feel fado not fail to stop until the muscular
contraction
while
when
condition,and
will
you
is relieved.
see
your
practisingrewarded
commensurate
elasticity
status.
physical
does it tire my
Why
and
octaves
How
little
conscientious
by acquiring an
with your general
when
arms
continuation
I avoid it,so
can
In
that
play Prematur*
? Fatl9u*
of littleruns
they will
feel
free and
easy ?
is
Premature
fatigue
undue
arms
muscular
and
that the
you
will find
fatiguedisappears.For your
of fatigue
be due, not to
may
sensation
exhaustion
a
caused by
usually
contraction.
Keep your
of muscular
but
power,
stoppage of circulation caused by
unconscious
Change
the
stiffeningof
positionof the
the
to
an
wrist.
wrist from
PIANO
34
low and
high to
feel the
Still
st^"
vice
whenever
versa
you
"fatigue"coming on.
Kullak's
Is
Octaves99
QUESTIONS
"Method
"^ ^e
One
^est
of
^
*n
Octaves"
^ne ?
or
can
recommend
somethingbetter ?
Since the days when
Kullak's "School
of Octaves"
has
was
printed,experience
thingswhich might be
taught us some
added
to it, but
nothing that would
you
"
Oood
Nor,
it.
contradict
far
so
I know,
as
has
first volume
the
than
of
in
that
print
work
especially.
REPETITION
18.
TECHNIQUE
about my
repetition
Diffi- Please help me
culty of notes. When
I wish to play them rapidly
The
^
Repetition
Notes
the
that
seems
produce a
key
sound?
does
not
Is it because
always
of
my
touch ?
the action of your
that the
not infrequently
First,examine
It
occurs
do
their work
because
of
an
If, however,
the
the
or
lazypiano action.
fault does
the
instrument, it
stiffness of
piano.
fingers
must
lie in
fingers.To
not
a
lie in
certain
eliminate
QUESTIONS
PIANO
35
this you
fingersfall perpendicularly
the keys, but
with a
upon
if you were
motion
as
wiping the keys
and then pull them
with the finger-tips
quicklytoward the palm of the hand,
bending every jointof them rapidly.
technique,let
19.
Please
tell
the
NOTES
DOUBLE
something about
me
and
those
the The
diatonic
.
in
the
of Double
Thirds
GriegConcerto.
As the playingof passages in single
to do
notes requires
a close single
legato,
thirds requiresan
double
equallyclose
details
double legato. As to the exact
refer you to my
of legatoplayingI may
book, "Piano
Playing,"where you will
discussed at length in
find the matter
the chapteron "Touch
and Technic."
first movement
of the
THE
INSTRUMENT
Is it irrelevant whether
a
good
Vi
I1or
but
or
bad
a
A.
practise
upon
piano ?
practiceyou
the very
Upon
iij
should
The Kind
"f piano
never
best available
use
any
instrument.
which
to
Practise
^
PIANO
36
QUESTIONS
Far, rather,may
the
different kind
which
of touch, and
is
Such
conditions
possiblyout of tune.
impair the developmentof your musical
well as of your fingers.It cannot
ear
as
be
otherwise.
As
said
before,
once
all around
correct
"
But
of mind.
concentration
of the student
seat
these
the
on
presuppose
talent and a
some
and
ommendations
rec-
part
good
teacher.
Do Not Use
Is it not
advanced
Extreme
in
"Action"
better for
student
in the
is pre-
PIANO
QUESTIONS
to
an
use
37
hand
instrument
muscles,
with
light
action for
the
for
All
extremes
harmful
are
in
their
effects upon
study and practice.A too
heavy action stiffens and overtires the
keep
the action of my
tight?
Keep it tightenough to
"feeling"of the keys under
but
your
your
Do
to
make
it
more
fingeraction
so
and
piano HOW
Tight
to
$"%"*
preserve the
the fingers,
Action
would
endanger
injure
may
it
hand.
you
practiseon
action ?
piano
that
Piano
PIANO
38
QUESTIONS
absolute
relative terms,
but
prise in
their
in
resistance
should
action
which
com-
of
The
the
"
the hand.
Playing On
a
Dumb
mechanical
such as a
appliances,
dumb
keyboard, of advantage to the
its use
student of the piano? Should
be restricted to a particular
stage in the
of study?
course
is a
Music
language. Schumann
Are
said:
"From
learn
to
mute
or
be
used,
the
talk!"
dumb
The
cannot
we
totallydumb
very
if
little,
we
aim
at
musical"
"
PIANO
40
QUESTIONS
Assuming
artistic use
that there is
no
more
in mind
the
regretto
say
for the
of
shade
tint. He
knows
yellow make
green,
make
purple; but
that
colours
or
the
palette
lar
particu-
red
those
and
are
blue
ground
For
rarelyuse.
the finer shades
he has to experiment,
his eye and
to consult
his judgment.
The
the pedal and the
relation between
is exactlysimilar to that of
ear
player's
the palette
ally
Generand the painter's
eye.
it is
speaking(from sad experience)
far more
importantto know when not to
the pedal than when
it. We
to use
use
must
which
he
refrain from
can
its use
whenever
there
is the
slightest
danger of unintentional
This is best avoided
minglingof tones.
by taking the pedal afterstrikingthe
tone
upon
release it
which
it is to
act, and
to
PIANO
QUESTIONS
I
rule
only positive
this is often
your
Let
violated.
the
action
be
tom
Accusmelodic
listen
closely.To teach
pedal independentof the
is impossible.
own
ear
"
of the
use
and
even
ear
your
rightfoot.
your
to harmonic
ear
and
clarity,
give,but
can
guardianof
the
41
of your
In Weber's
"Storm"
should
the
be held down
throughoutthe entire
directed ? It producesquitea discord.
as
Without
knowing this piece,even
by
I may
name,
say that the pianos of
Weber's
time
had
duration
and
volume
from
a
resulting
not
pedal were
tone
of such
that the
continuous
short
discords
use
of the
noticeable, as
so
Pedalling
they
the modern
piano with its
upon
volume and duration of tone.
magnificent
are
now
I say
"
guideof
caution.
again
"
that the
music
with
Generallyspeaking,
Is Bach's
be used
now
ever
ear
the
is the "sole"
pedal.
played with
the
With
pedal?
There
the
use
Use
is
no
of the
piano-musicthat forbids
pedal. Even where the
in
Bach
Pedal
PIANO
42
of
QUESTIONS
"
where
"
the reach
of his hand
suffic
proves inall the parts of a mony
har-
hold
to
as,
"
organ-point
"
tones, holds
of
cases
harmonic
the fundamental
tone
and
thus
caution
The
Student
j ta^e
as
with
alwayswant
use
the
pedalas
pjece but
new
soon
teacher
my
a
.
Fondness
to
insists
that
I should
first. Is she
You
"want"
to
get
"
good
singing
pedal?
In the
?
right
use
the
teacher's advice
the
to
your
contrary? Then why did you apply for
face
of
teacher?
own
kind
need
PIANO
QUESTIONS
teacher's advice
by followingyour
should
have
all
then you
progress, even
rightto do anythingelse than
another
teacher.
probabilitynot
the firstone
from
I say
you
fail to
no
to
go
43
again:You
But
be
in his
he
very
will in
different
precepts. Hence,
should
learn obedience!
each
other
taneously,
simulthem
use
may
providedthat the character of
you
it.
particular
placein your piecejustifies
Should
the expresson
by
the
?
fingers
The
soft
qualityof
should
pedal serves
tone,
therefore
to
not
the
never
be
change the
quantity. It
used
to
hide
PIANO
44
the
when
with
Not
its range
Should
Does
the
of
is
tone
coupled
lies
as
of action.
Gavotte
A, of Gluck-
in
playedwithout
be
the soft
pedal?
of the soft pedal tend
liberal use
the student lazyin usinga light
Brahms,
fet
Pedal
softness
such
change of colouring,
within
Do
QUESTIONS
to make
touch ?
is too
first question
Your
as
general,
Once
^"
More
ft
Qnff
no
piano has
My
rather
loud
to
tone
*"
""
which
mv
Pedal
play with
and
peopleobject,
the soft pedal. I
it.
afraid
am
What
soft touch
would
you
of
the
in the bad
condition
could
play
of the
at
certain
one
it most
play
advise?
are
your
time
passages
of
position
to
me
to
now
factory. I found
changed at
not
use
sound
and
mechanism
the
urge
my
liked,
piano
myself
that I
pendently
indefoot
on
PIANO
the soft
QUESTIONS
pedal.
is the
Such
45
strengthof
constant
association that very soon
a
use
ability
of the soft pedal produces physicalin-
play unless
pedal.
to
the
the foot is
pressing
PRACTICE
in all tonalities,each
at
The
QH
after another,
slowly,one
then somewhat
quicker,but never
long as you are not
very quickly as
that
both
hands
are
absolutelysure
and
that neither false
even,
perfectly
To
notes
occur.
nor
fingerings
wrong
play the scales wrong is justas much a
of habit as to play them right
matter
only easier. You can
get very firmly
certain
settled in the habit of striking
a
rendered.
First
"
note
you
the
every time it
wrong
take the trouble of
formation
these scales
the wrist,
of such
play them
occurs
unless
counteracting
habit.
in octaves
After
from
PIANO
46
QUESTIONS
Mozart, Beethoven,
finally
Chopin,and so on.
to do it,play one
on
use
hour
one
studying. In
are
another
to
you
you
hour, and
18
afternoon
this hour
formed
three
should
time
hours
mind
littleor
and
none,
spirit.If,as
hours a day
hours
one
of the
"
the
that is,work
participation
do
should
you
for it kills your musical
heart
"
three
you say, you practise
two
I should recommend
in succession
hour
mind
spend on
I am
practising
long should I
study?
day; how
at a time ?
practise
Purelytechnical work
without
of the fingers
of
you devote
by this that
studying.
are
much
How
in your
c'ear'v technical
t}Timeefo
Practise
play
I mean
interpretation.
what
should now
apply aesthetically
have technically
ing
gainedin the morntages
by unitingyour mechanical advanwith the ideal conceptionwhich
have
you
work you
Morning
the
you
in the
in the afternoon.
morning and
The morning
Make
PIANO
48
QUESTIONS
who
has not thought of it,yet
any one
it is legitimate;
for I know
positively
this
that
crime
been
committed
warn
students
matter
the
to
better
insensible
in
the
work
done
is
only
should
transmitted
brain
comes
occupied it bethe impression of
and
practisethus
to
hand,
complete waste
not
we
read, but
anything else
before
us,
if
we
of time.
but
Four
work
tration
expect results. Concen-
alphabet
success.
Will
I advance
eighthours
j?ghf
6f
Not
also not
the
Instead
through
eye in order
technical results. If
of
Practising
to
and
ear
think
of
to
is otherwise
brain
be
of the
agenciesof the
bring beneficial
far
as
must
motor-centres
the
is
It
attention.
concentrated
has
I cannot
by many.
too
stronglyagainstthis
pernicioushabit.
practiseonly half
the
themselves
upon
quickerby practising
instead of four, as
I do
now
PIANO
tion, which
be
can
length of
certain
their
QUESTIONS
of
power
sustained
time.
lasted,
have
Practise
notice
exhaust
concentration
quicker
long it may
it is exhausted
self-examination, and
that
all
unrollinga scroll
rolled up.
laboriously
have
we
is like
work
further
which
once
only for
Some
than
49
if you
interest is
waning
that in studyingthe
stop. Remember
of quantityis of moment
matter
only
when
coupled with quality.Attention,
your
"
any
you
ought to
Shall I, when
stiff,
play at
to
how
hands are
my
difficult and
once
necessary
un-
much
cold and
Playing
Wiih
fatiguing
cold, and
increase
may
both
the hands
force
have
temperature and
take
half
or
even
and
gained
elasticity.
three-
Cold
PIANO
50
quarters of
QUESTIONS
It may
be accelerated
puttingthe hands in hot water
before
done
the
Counting
Out
Loud
an
hour.
by
playing,but
this should
often,because
too
not
be
it is apt to weaken
of the hands.
nerves
to a pupil's
countingaloud injurious
piayjng that is,does not the sound of
the voice confuse the pupilin getting
the
Is
"
correct
tone
of the note
struck?
Loud
be
hardly ever
countingcan
not while the pupil
injurious especially
is dealingwith time and rhythm. This
or
fullyunderstood, the
part mastered
audible
counting may be lessened and
During practice
finallyabandoned.
loud counting is of inestimable value,
for it developsand strengthens
rhymthic
feelingbetter than anything else will,
and, besides, it is an infallible guide to
find the pointsof stress in a phrase.
"
The
Must
Study
of
Scales
Is
all
study of
the
piano absolutely
very
Scales should
Important
not
be
attempted until
PIANO
QUESTIONS
51
of
discipline
the ear
with regard to the feeling
of
of intervals,
tonality
(key) understanding
and
the
comprehension of the total
of the piano.
compass
the
Do
you
of the
approve
major scales
is the practice
of the
fifteen
or
unnecessary ?
One
should
line in order
learn
to
enharmonic
ones
in
everything
select from
that
one's store
of
written, and
sixths,and
When
later also
in
thirds,
octaves.
When
studying a new
composition,
which is preferable:
first with ^eadm9
to practise
?
separate hands or together
2VW
Piece
When
first lookingover
a
new
sition
compoboth hands -should be employed,
if possible,
for this is necessary to obtain,
at least,a mental
approximately,
picture
of it. If the player's
techniqueis too
insufficient for
this the
deciphering
PIANO
52
QUESTIONS
of course,
must,
be done
for each
hand
separately.
When
learninga new
piece
the hands
s^ou^
practisetheir parts
Parts
Separatelyseparately?
formed
Provided
a
general
you have
idea of the piece,it is well to practise
because
the hands
separately,
you can,
Practising
am
attention
this way,
concentrate
your
of each hand.
upon the work
in
however,
should
the hands
to
now
which
Should
Ways
Study a from the
Four
its work
knows
play togetherin
order
preparation.
compositionbe
p{anop
a
studied away
Piano
___
Piece
hand
soon,
for
the musical purpose
pursue
the separate practice
was
only a
technical
to
each
as
As
There
four
are
ways
to
study
position
com-
1. On
2.
3.
4.
the
music.
2
and
and
are
PIANO
also
and
is a
QUESTIONS
best
53
How
fast
or
to
slow
Schubert-
should
The
Con-
singen" be ^f^
parlour piecesDictate
would
after
Liszt's
recommend
you
zu
Bendel's
"Zephyr"?
if I did believe in metronomes,
I do not, I could not indicate speed
Even
as
for you
or
for
anybody, because
it will
Which
suits you
best.
fast tempo ?
The best
part which
to
work
up
To
Work
"
help is
to
hear
the
pieceor
played
have
in mind
you
another person, for this aids
quicklyby
in forming the mental
you
concept
it, which is the principalcondition
of
to
Fa*
PIANO
54
which
all
however,
is subject.There
ability
other
which
ways
find for himself:
must
us
QUESTIONS
gradualincrease
each
one
either
are,
of
by
of
tell;your
if you
The
w."y
",
Work
Up
to
a
a
these
two
or
any
one
can
guide you
follow it cautiously.
Is it
ever
piece
over
Best
of
waste
and
over
of time
to
practise
*
.
Quick as slowlyas a
Tempo concentration?
this way,
but
have
been
that
one
music
same
long time.
you advise
the pedal?
Do
with
practising
or
out
with-
is undoubtedlythe basis
practice
quick playing;but quick playingis
Slow
for
told
PIANO
56
with
step
QUESTIONS
it, and
result is often
the
forcible
If,
bicyclerace,
should
we
"Breathe
could
This
unheeded.
however, need
if
When
heed
nature
find
remains
ing
breath-
I recommend
long as possible.
as
ing,
mouth-breath-
than
the
will
you
advice
or
my
will
we
learned; it is the
head
more.
becomes
physical exertion
great then
nose!"
advice
it refreshes
and
men,
call to the wheel-
our
be
not
wholesome
more
spurt of
open-mouth breathing,
of nature.
self-help
throughthe nose
It is
last
through the
wonder
not
the
at
neither
too
need
nor
anybody's;
its
line
own
your
least
of
resistance.
Take
Must
Month's
keep
Christmas
mv
Rest
my
up
practiceduring
holidaysof
month
Every
%._
If you
Year
have
worked
to
month.
as
well
on
your
velopmen
de-
the
spring,summer,
it will be to your advantage
autumn
entirelyfor a
stop your practising
during
and
well
Such
as
the
pause renews
love for your
your
forces
work, and
PIANO
QUESTIONS
resumingit,not onlycatch
you
will,upon
up
quicklywith
"
what
think
you
may
you will also make
because the quality
missed, but
have
to
57
quickleapforward
mind
body
are
we
"to
since
to
means
form
correct
habits of
beware
watchfulness
our
to bad
as
habits.
cannot
greatestpersistence
habit into
AND
is the
printedover
The
The
a
note.
meaning of M.
pieceof music ?
for
of
name
indicate
figures
minute
beat
NOMENCLATURE
stands
and
the
represents
"
The
the number
shows
in this
whole
M.
minute.
72
case
of beats
what
a
each
quarter
says that
piece should
annotation
speed of the
average
admit of seventy-two quarter notes
a
"metronome," the
its inventor,Maelzl.
note
the
playedin
bad
virtue.
MARKS
What
turn
The
I advise you,
being
how-
The
Metro-
PIANO
58
rather
ever,
QUESTIONS
consult
to
the state
of your
for what
feeling
the
Per-
Metronome
In
mentS)
the
and
6-8
Dance
much
Or
9-8
faster?
How
movements
of the Gnomes
should
of Liszt's
be metronomized
should
C-sharp minor movement
not increase in speed,or
onlyvery little,
it rises to a considerable height
because
and this seems
to counteract
dynamically,
of speed. As
increase
to the
an
metronoming,I would not bother about
of your
it. The
possibilities
technique
must
ever
regulatethe speed question
mately
in a largedegree. Tempo is so intirelated with touch and dynamics
individual
that it is in a largemeasure
an
The
matter.
This
does
not
mean
that
one
influence
the
tempo.
The
metronome
PIANO
QUESTIONS
indications
are
the utmost
caution.
be
to
59
acceptedonly with
How
for
rare
your
your
played?
Ignored
edition of Beethoven
an
possess
Better Be
metronome
marks
world
interfere with
you have
fortunate, and I would
singularly
been
not
2, be
no
the
How
should
for
one
practising?
against it, as my
....
use
have
,
teacher
your
such
technique,
confidence
in
the metronome
been
"
tells
There
warned
.
me
one
is
liable to become
by
Your
should
teacher is
eminentlyright.You
for
play with the metronome
length of time, for it lames the
any
musical pulse and kills the vital expression
in your
playing. The metronome
well be used as a controlling
device
may
first,to find the approximate average
vince
speed of a piece,and, second, to conyourselfthat, after playingfor a
not
are
Dan9ers
in Using
a
Metro-
nome
PIANO
60
while
without
caused
you
the average
The
What
Real
have
feelings
it,your
drift too
to
not
far away
from
the
words
tempo.
is the
Adagio,
0je""Jd
Terms
QUESTIONS
of
meaning
and
Allegro? Are
theyjustindications of speed?
as
such; though our
sical
muThey serve
ancestors
probably selected these
Andante,
terms
because
which
leaves
of
their
indefiniteness,
certain
margin to our
Literally,Adagio (ad
individuality.
"at
leisure." Andante
agio) means
means
"going" in contradistinction to
"running," going apace, also walking.
Allegro (a contraction of al leg-gie-ro)
marily
Priwith "lightness,
cheerful."
means
a
these terms
of
to be
As
A Rule For
the S
dicatio
you see, inthey have come
as
the words
speed,can
indicate
you
student
who
cannot
teacher
will
be
what
but
mood;
are
suPPosed to
in^d
of
are,
certain
give a
rule
have
the
able
time he should
If the metronome
to
so
rate
that
aid
understand
of
a
a
in
?
play a composition
is not
indicated you
QUESTIONS
PIANO
have
consult
to
good
own
your
61
taste.
Take
How
the
are
these
measures
grace
from
played in How
Chopin's Valse, ^""8
notes
not
are
grace notes
opus 42, and when
with the base ?
struck simultaneously
Grace
notes
one
The
"
and
time
should
be
their chiefs
the grace
to which
those notes
attached
and
so
the
to
that is,
"
notes
are
be
ever
minimal
with
meant
Played
played with
muscular
the same
impulse.
occupiedby the grace notes
should
be discernible whether
before it.
Are
that it should
they appear
precedethe
ultaneously
sim-
slightly
music it is usually
bass note, though
sionally
playermay occa-
the base
In modern
not
note
or
PIANO
62
What
Rests
The
Over
Notes
is the
below
or
QUESTIONS
the notes
than
more
written in the
one
same
only
voice (or part) is
cate
staff,and they indican
how
voice
What
What
Dot
Means
does
it
wag
too
occur
the
As
second
value,
one-half
A
half -note
with
three-quarters,
seven-eighths.
slur thus 5*
The
or
should
have
Slurs and accents
Playof wftn each other, because
mg
Notes
t"
rhythm, while
The
be
last note
so
note
by
does
the
dots it lasts
slurs
under
curtailed
slightly
hand
^
9
nothing to
accents
concern
a
under
I liftmy
x"
of
dot
one
I accent
to
seems
with
two
is
thoughtfirst
of the value
lasts
at the end
note
]^u^ ft
own
add
dot
Should
of the other
for that.
frequently
first dot prolongsthe
of its
one-half
^**
j^g^^
occur
when
mean
double-dotted,like
^
above
rest
speak of
rests you
when
of
meaning
relate
the touch.
slur will
in order
do
to
usually
create
PIANO
64
the
must
contrary, and
Where
Long
last
on/cf".
such
annotation
an
How
QUESTIONS
literally.
is
there
beat
of
accidental
an
does
measure
the
on
that
not
denial
.
note
resume
a
Aflects
Note
bar unless
in
was
The
"
its
fourth
The
of two
beat^E,
tied?
key
case
speak
flats,common
was
of
time.
naturalized and
of the next
measure
was
the flat
What
is the
the E and
B-Sharp^
and
the
Double
meaning
line'and
of the
of
sharpson
double-flat ?
Are
confound
the
graphical.
orthonote
QUESTIONS
PIANO
keyboard by that
the key
is played upon
its musical bearingis very
the
key on
B-sharp
the
with
name.
called C, but
the
from
remote
65
C.
note
The
same
"sow"
"Sew"
alike, but
are
accordingto
"so"
"
"
sound
convey.
How
to be
As
a
is
an
half-tones
or
two
yjTof
played?
lowers
the single-flat
half-tone, so
note
found
full tone.
operetta recentlyI
the double-sharpsign( x ) used
11
for double-flats
The
11
signmay
as
Double
by
playing an
In
Effect
ats
by
double-flat lowers it
a
The
well.
be
"
Is this correct
s^?rP.
Misprinted
? forDouble
misprint.But if
it should occur
repeatedlyI advise you
to make
quitesure, before takingthe
for granted,
that the signis not,
misprint
for a double-sharp.
after all,meant
a
Double
Flat
PIANO
66
When
Please tellme
an
Actidental
QUESTIONS
thus
Val marked
does
Parentheses
how
acci-
an
or
an
.isexecuted.
M/n
dental
in
interWhat
theses
paren-
\*\*
mean?
marked
Chords
chord
rolled in the
as
same
above
manner
slightly
are
if marked
as
The
Staffs
Does
an
pendent
1}influence
Oiher
in
score
as
piano
form, the
of each
in
cases
an
righthand
the left?
Inasmuch
Each
accidental in the
two
staffs
other
orchestral
music
score.
as
is written
are
are
as
pendent
inde-
the staffs
We
may,
draw
of suspectedmisprints,
inferences from
one
in
tain
cer-
the
two
PIANO
staffs
independentof
are
regardto
I
67
asked
why
other in
each
accidental chromatic
often
am
QUESTIONS
signs.
there
must
be
Why
"
flats: but
Bach
does
not
"Same"
Key?
all the
use
Preludes
keys in his Forty-eight
in the
and
Fugues, omitting entirely,
major keys, G-flat, D-flat, and C-flat,
and, in the minor
keys,A-sharp and
in sharpsconA-flat. Are compositions
sidered
fifteen
brilliant than
more
flats?
The
upon
those
consider
composers
their key?
in selecting
lation
modu-
Do
to
answer
whether
in
questionhinges
recognizein music
your
you
irrelevant.
must
Two
Names
admit
But
the
in the
latter
of
necessity
case
you
musical
PIANO
68
QUESTIONS
distinct
to convey
orthographyqualified
musical
tonal meanings and
thoughts
to the reader and to the player. Though
ence
differthere is in the tempered scale no
between
C-sharp and D-flat, the
musical
will
reader
different from
These
harmonies.
as
because
another, partly
one
their connection
of
them
conceive
determine
composer'sselection
in
related
other
with
usuallythe
of enhar-
cases
of human
script
find an
analogy than
be more
perfect.In
identities. In the
monic
will
languageyou
which
could
none
English there
are,
instance, "to,"
for
the
pronunciation,conveys
meanings of the words.
The
What
Mean-
ing
and
is the
meaning
dasn
wkat
^oes
What
a
beginner,
A
theme
of
motif
may
motif,
of
different
"motif"?
over
mean
note
of instruction for
child of ten ?
A
of a theme.
is the germ
be composed of reiterations
or
by groupingseveral
also
together;it may
of procedure.The
modes
motifs
combine
both
most
glorious
PIANO
QUESTIONS
of
exemplification
of
motif
openingtheme
over
Symphony.
note
enjoinsthe
with the finger
book"
best "instruction
who
teacher
for
uses
no
out
of his
own
The
child is
instruction
iteration
re-
Fifth
until it has
good
by
you
that note
hold
playerto
construction
of Beethoven's
dash
69
the
to
inner
sciousness.
con-
marked
Notes
above
as
that each
note
the next.
The
fingersare
not
the
What
do
chord
note
or
to
staccato
their
that the
the
key.
above
in contradistinction
mean
or
or
an
accent?
chord ?
"*"***"
so
arm,
lifted from
Stao*
be
to
are
Tied
And
does
The
"Tcnvto"
audits
Effect
PIANO
70
dash
The
QUESTIONS
under
or
above
about
giving this
This
Chord
with
written
,,
,t
"
Ballet,No.
Roll
in
not
Small
the
as
in
f*-.
ployed
usuallyemconcerns
chord
spread and
.
secco
holding
singlechord.
I execute
AlClTKcd
"Secco"
substitute is
or
should
How
Rolled
note
the
when
singlenote
(usually
in
or,
duration.
"tenuto"
into
abbreviated
"held,"
is
note
Cnammade
that is
also marked
i
CCA*
Air
de
1."
chord
evenly as possible
all its parts; but use
no
pedaland do
and short.
hold it,but play it briskly
What
is the
Notes
as
meaning of
largeones ?
small
notes
printedunder
LarglUsually the small notes are an indiOnes cation
that they may
be omitted
by
players who have not the stretch of
hand
necessary to play them.
Accenting
a
Mordent
Sonata
How
mOrdent
measure
di molto
should
one
"
"
of
Opus
thetique,
Beethoven's
13 ?
Sonata
Pa-
PIANO
72
beats
the
of
QUESTIONS
they
are
played
between
Trill
compositionsshould
modern
the note
the
on
Melodic
Note
which
there
presuming
the
thumb
the
and
no
the
Is
note?
is written,
.
is
all
appoggiatura before
of
alternation
second
the
fingerdesirable
in the
playingof a trill?
Where
not
expresslyotherwise stated
(by appoggiatura)trills usuallybegin
the melodic
tone
(the note
upon
is written). Change fingers
when
employed get
the
in
preserve
Position
In
of
in
Trill
the
II-
or
accompanying example
the
of the
auxiliarynote
be
of the
a
tone
nalf-tone
If the
trills
extended
For
is advantageous,
fingers
shorter trills two
fingerswill
more
clarity.
those
of three
use
while
tired.
which
above
the
principalnote
what would
half-tone,
note?
auxiliary
be the
name
PIANO
QUESTIONS
73
evidently
episodeyou quote moves
minor.
of G
The
trill
in the tonality
As the auxiliary
B-flat.
note
stands on
the diatonic sequelof a
of a trillis ever
The
stated
whole
above
tone
the
there
should
written
been
have
in
major
"natural"
signof
the
under
be
B-flat, namely C.
piece is
Since
marked
in this case,
it must,
note
the trill.
Will you
there
there are
trilling
sluggishmuscles
even
these
without
your
the
are
certain
may
knowing
by
means
be
the seat
and
The
for
which
be assisted.
cannot
means
trouble.
"methods"
no
causes
ness
in
Trilling
Yet,
suggested
cause
of
differ with
individual, but
majority of
manual.
To
quickly;for
stick, lose their
fingersthey will soon
rhythmic succession, and finish in a
Hence, there is no
cramped condition.
direct way to learn trilling;
it will develop
with
vancement.
adgeneral mental-musical
your
The main thingis,of course,
PIANO
74
QUESTIONS
playing,
always to listen to your own
to perceive
actuallyand physically,
every
tone
play; for only then can
you
you
form an
estimate as to how
quicklyyou
"hear."
can
than
course,
ear
own
your
is the
What
those
in
in the
tri11 in
measure
37
and
measures
25
stress
other
Meaning
two
25, and
38, of
the
53?
trillin
measure
purelyrhythmic,
of
you
snare-drum
requiresgreater
in
note, while
melodic
speak,on
to
so
roll the
next
the
on
hand,
is
first trill
The
effect.
38
manner
in the nature
somewhat
the
and
37
measures
The
quickly
follow.
can
difference
of PlayinSthe
^Trills
do
you
expect to playanythingmore
not
Difference
of
And,
throw
may
both
notes
upon
your
and
the
eighth-note.
is meant
What
it
Unless
feggioin which
most
chords
can
of
reciting
solfeggio.
refers to
called
means
in music ?
by "spelling"
the varietyof ways
an
oral
be
written
notes,
it
properly
tell
Please
classics which
daughter of
my
has
great deal
difficult for
too
not
are
the
pieces of
some
me
COMPOSERS
AND
PIECES
CERTAIN
ABOUT
75
QUESTIONS
PIANO
fourteen
She
play.
to
of talent but
not
has
"
as
say
you
Fourteen
she
old
talent
much
"
^g**^
much
Sonatinas
technique. The Kuhlau
can
play very well.
If your daughteris fourteen years
and
Some
but
traveller without
and
Haydn
Mozart
of their
because
rate,
any
by
easier sonatas
prefer the
should
At
money.
to
those
of
Kuhlau,
it is
the
it said
by
tells In Playing
teacher
playing sonatas
my
great fault if I
neglectto
repeat marks.
I have
others
that the
ob-
heard
is
repetition
not
the
necessary,
first movement
in
order
that
the
Sonata
PIANO
76
QUESTIONS
and
the mind
upon
auditor.
For, unless
of
memory
this
is
your
plished,
accom-
possiblyunderstand
their development in the
follow
and
next
part is
part. That the exposition
the only one
not
to be repeatedyou will
find frequentlyindicated; for instance,
of the "Appasin the last movement
is needful,
sionata," where the repetition
he
for the
not
cannot
balance
of formal
the sake
stated
reason
or
proportion.
in favour of
Generallyspeaking,I am
following the composer's indications
hence, also, his repeat
punctiliously,
that
aesthetic purposes
will perhaps not understand
which
marks,
you
serve
the
later, when
hands,
outgrown
until
your
has, in
sonata
the
stage of
being learned.
A
Point
Should
not
figurein
inPlayithe
"
Moon-
light So-
ata"
yOU
but
be
blended
jo
not
as
hear
the
triplet
"Moonlight Son-
notes
Beethoven's
so
the notes
the
of
into each
them
in
background, so
in the melody?
other
that
separatenotes,
to
speak, for
PIANO
extremes.
should
as
you
77
The
QUESTIONS
lies
accumulation
The
chord
should
Should
be
Mendelssohn's
playedin
It
slow
or
not
"Spring Song"
Playing
fast time ?
is marked
"Allegrettograzioso.
The
latter term
in English)too
(graceful,
precludesa too-quickmovement.
This is the seventh
Polonaise, Opus
the
meaning of
26,
No.
the dot
in the bass ?
is
have
measure
of
1.
Chopin's What
What
placedafter
Whenever
occurs,
this
or
thoughtit a misprint.
is
the
measure
I should
Fast
PIANO
78
The
QUESTIONS
left-hand
follow
notes
each
other
eighth-notes. Their
as
is
however,
and
stems
here
that
built up
tion,
respective duraindicated
by the upward
the
dot.
chord
complete
It is intended
by accumulation,
should
be
in illustration
as
a:
I would
and
also
hold
the
fifth
eighth as
in illustration b.
Where
Accent
Should
be
A-flat, Opus
r
last
like
?
triplet
The
last note
heard
In
Chopin's
puted a"ter
Chopin
Doqqio
Dis~
the
receive
the mordent
in this
accented
the
or
.,
mordent
tne
I have
accent
first
,,
"'
note
the
should
29,
"
Placed
in
In
the
of the mordent
sound
?
accent
should
be
case.
Nocturne
Movement,
in
F-sharp,
when
re-
**
.
Reading turning
to
measures,
fifth
measure
Tempo
I, and j
T
right hand
play this melody?
should
the
j.-
counting five
in
the
PIANO
80
all the
time
left hand
careful to
should
omit
omit
only
really
duplicates.There
toward
should
throughor
way
omit them?
left hand
The
be
QUESTIONS
the end
them, but
those
are
that
few
differ from
that
the
those in the
be careful
must
you
are
places
left-hand notes
the
written.
are
BACH
The
Be-
9mner
"
Music
you
the left,add
have
you
all the
to follow
sure
Do
not
that Rome
was
Back's
Music
Necessary
to Good
Do
necessary
to
technique, or
until
out
lose
not
think
you
on
partstogether.But be
separate
the Continentals
part (or"voice," as
say).
so
patience.Remember
built in a day.
the
the
of
development
i
111
should
later
of Bach
study
one
day
let
when
ms
is
one's
"
music
one's tech-
QUESTIONS
PIANO
nique
is in
his music
only music
technique. There is,
of Czerny and
music
instance, the
for
Clementi
to
of
the
is not
developsthe
that
Some
dry.
so
music
Bach's
condition ?
good
seems
81
But
be considered.
Bach's
to develop
qualified
particularly
in conjunctionwith musical
the fingers
tion.
characterizaexpressionand thematic
You
start with
Czerny and
may
to turn to
Clementi, but you ought soon
music
is
That
Bach.
of
some
his music
seems
dry
to
you
giveyou.
opera can
his styleand
you
never-dreamed-of
Do
Bach's
in
as
will find
mine
of
enjoyment.
Te^c^
is
piano works
Bach
yourselfinto
good
which
Think
is
for the
technical
the
best
condition ?
edition
of
And
Bach's
good for
body, and
the
soul
well
as
I recommend
that
Which
hard
to
with
Bach
PIANO
82
QUESTIONS
What
d"eS
Fugues and
is the
^
by
differ
fr"m
and
Peters
edition
"Fugue,"
how
"Invention"
an
what
is the
studyingthe piecesso
purpose
named
Bach?
The
would
space
a
plan of
"Prelude,"
of
the
text-book, of which
there
are
to
many
in every
is the most
be found
an
Invention
is
thoughtsmoving
The
an
with
lation
accumu-
absolute
definition of Prelude,
as
precedes
something which intentionally
main
introduces
and
a
action,
fittingly
musical
Prelude
fits the
perfectly;
in the case
of Bach.
The
especially
of
purpose
all good
all these
forms
is that
music-making,namely,
of
the
PIANO
QUESTIONS
development of good
and
purification
in music.
taste
Bach
the
Of
the C
do
or
83
advise the
you
arrangement
of the D
use
to the
^ach
flat
instead ?
littledifferences have
Such
As
and
never
ered
both-
therefore
hardly
It has
answer
your questiondefinitely.
been frequently
observed
though never
explained that to many peopleit comes
me,
can
"
"
easier to
C
in ,D
music
read
sharp. Hence,
if you
it will reduce
edition
flat than
in
preferthe D flat
the difficulty
for
accessible version
Possiblythis more
aid you optically
in
or
visually
may
work of memorizing.
you.
your
BEETHOVEN
justbeginningto reach an
of Beethoven's
ligent
interpretation
am
Now,
in what
order
should
intelmusic.
the Sonatas
be studied ?
If you
intention
Beethoven
Order
of
Studyin9
ven"s
Sonatas
should
to
have
really
study all the
for your
may
the laudable
Sonatas
of
repertory I should
take
safely
them
up
PIANO
84
QUESTIONS
in the
much
in which
order
they
are
printed,with the exceptionof Opus
which
53 and the Appassionata,
ually
spiritwell as technically rank with
as
the last five. The
Steingraberedition,
very
"
"
however, furnishes
The
with
Pastoral
My teacher
by Beethoven,
I
have
calls the
the
"Pastoral"
found
not
Sonata
Is it because
The
is the
invention
"Pastoral
name
opus 28,
Sonata.
anything "pastoral"
'm
mere
of
name
Sonata"
could,
ventio
inarbitrary
over-smart
perhapsof some
lisher
pubendeavouring to heighten the
attractiveness of the Sonata to the general
public by the addition of a suggestive
no
doubt, be traced
title. Yet
it
to
to
seems
an
fit the
Sonata
is
rural sort
of
peaceful
repose.
is of a
not
in the
many
other
too, there
movements,
episodeswhich
by
their
are
nai'vetc
PIANO
QUESTIONS
85
indicate
good-naturedboisterousness
life of the village.
and
the
Must
of Beetho-
Few,
TJ7
in order
yen's
or
is
to
certain number
become
not
all well
play one
of them
playing of
necessarily
prove
played,I think
the
advise?
you
all the
that
to
Enough
Sonatas
they were
it is better
well than
77
sufficient,Are
would
many
Sonata
good player,p^
to
play many
at
least,should be mastered.
MENDELSSOHN
In
complete
course
JL
student
udent
should
be5 included
are
the most
for
piano
The
the sti
study of Mendelssohn
Which
useful ?
of his
"/
compositions
Study
Men~
PIANO
86
is
Mendelssohn
is not
surelya
be omitted.
to
besides
QUESTIONS
other
His
composer
who
melody alone,
virtues,entitles him
to
be
included, for
to
melody seems
grow
scarce
nowadays. To develop a fine
cantilena
his "Songs Without
Words"
of slower motion, for instance, are
just
the thing.
CHOPIN
Which
of Chopin?
the
are
Chopin to studyby
to know
him
best
one
compositionsof
who really
desires
All the
Berceuse
Mazurkas,
and
the Barcarolle.
The
naises
Nocturnes, Waltzes, and Polo-
are
probably familiar
you
the aforesaid
hence, I mention
with;
other
works.
a
The
Charm
"f Chopin s
Touch
Generallyspeaking,of Chopin
should know
pianist
everything.
What
kind of touch
Since
did
Chopin
descriptionof his
touch
have ?
would
PIANO
88
and
then
the
like
sounds
moderate
out
QUESTIONS
a
Czerny
exercise.
charming harmonic
quick a tempo, are
many
which, in
too
bring
to
turns
likely
to be lost.
In
Chopin's
Barcarolle
numDer
Are
Chopin's
Barcarolle
Bach's
take
that follows
to
one
rule with
law.
lead
should
from
Chopin's
Works
Popular
Concert
you
too
from
Bach's
If you
plane on which an
Barcarolle by Chopin
not
that
the
follow, but do
that
must
rule, so
their time
them
Philipp Emmanuel
safe
is
PhilippEmmanuel
note
there
rule
is
confound
not
have
reached
attempt
at
the
is rational, you
individual taste will
far astray
even
if it
to depart
prompt you occasionally
the rule.
works
of
PIANO
In
QUESTIONS
take
one
may
and play different
playing Chopin
parts
89
the
or
mazurka
same
or
Taking
Ll^les
****
nocturne
Tempo
degreesof tempo ?
Undoubtedly. But the extent of such
aesthetic
liberties depends upon
your
mits
training.In principle
your questionadof an affirmative reply,
but a specific
is impossible
without an acquainanswer
tance
in various
with your
that you
musical
be
very
status.
cautious
mend
recom-
about
of them
You
be
one
th
PIANO
90
for you
QUESTIONS
by omittingthis
colour
tone
of the
you
chord
sonority.As soon as
stretch
the requisite
"
does
possess it
alter the
well
as
as
its
I would
"
do
note
For,
omitted. Chopin
not unnecessarily
note^be
meant
to have that note played.
evidently
Matters
Cannot be
Studied
in Order
composition
To
snould
studied
be
without
classify
composers,
is
their works,
Beethoven's
first and
fying
speci-
advisable.
never
differ
last sonatas
fundamentallyfrom
that one
every particular
so
other
each
in
play the
may
first one
very well and yet be for many
unable to play
years (perhapsforever)
And
still,it is the same
the last one.
Beethoven
that
wrote
both
works.
therefore,hardlyspeak of
can,
an
We
"order
of
Which
master
does
your
"
but,
Which
stage of
composition
and
mental
technical
will
PIANO
QUESTIONS
poser
works
ones,
at
more
lengththan
it true
"
will need
you
"
life of
that
have
composers
nearly all
been
the
great
.
by pianists
whose
you
sole medium
utterance
admits
was
of
no
reply. The
of just now
mean
than
question
think
can
Berlioz; there
none
pianist*
affirmative
an
only exceptionI
was
Composers
as
musical
piano,your
other
musicians
of audible
the
The
Oreatest
?
pianists
T*
It
no
fullymastered the
only the principal
man.
average
Is
that
91
who
were,
belongs
to the
The
for
reason
trulygreat ones.
this is, perhaps, the circumstance
that
the pianistthroughout his education
is
brought into touch with greater polyphony
than the playersof other instruments,
and
that polyphony is a basic
in music.
principle
Is
the
study
of
transcriptions
of
any
Thalberg's operaticThe
value
"\
j
student?
Study
"f
O?6*"*"
to the piano
Trantcription9
Operatic
transcriptions
beginwith
What
was
written
before him
Liszt.
in that line
PIANO
92
(and
in
some
hence
him,
QUESTIONS
hardly of any
the
a
specialinclination toward
of Thalberg you
may
them; they will not harm
you so
much.
of any
are
say,
Modem
But
if you
musical
ask
scriptions
tran-
play
very
whether
me
value I must
they
frankly
no.
Are
such
Heaven"
or
piecesas "Beautiful
"FallingWaters"
What
taste ?
contemporary
Star of
in
good
composers
write
good
music
written
present. By
Russia.
Most
far
to
ones
as
for the
found
Fairy
by Pachulski, and
much
from
comes
compositionsare
play,but
be
very
piano justat
best
the
the "Music
"Fantastic
be not
of these
rather difficultto
easy
such
to
seems
there
among
are
some
them,
Box," by Liadow,
12,
Tales," No.
others.
PIANO
QUESTIONS
AND
EXERCISES
Is there
any
exercises that you
and
that you
Any
93
STUDIES
specialbook
of
practiceExercises
Beginner
would
publisherwill
reliable music
recommend
to
care
to
Prac-
tell tise
in
you which book of exercises is most
The
effect of the exercises
demand.
depends, of course,
upon
Indications as
playthem.
are
usuallygiven in such
of
kind
cannot
the
to
books.
exercises
examination
by
would
"
The
exercises
recommended.
two
editions, or
They
"small
are
known
Pischna."
personal
expert.
an
the
you
mng
Heller's
student
best
Exercises
ote
""
TV
iPischna
have
They
which
the
as
You
99
studies
are
to be
appeared in
one
is
may
obtain them
abridged.
"large"and the
I
think,
practicalfor
lacking in rhythm
and
The
"/
Value
Heller's
Studies
pression?
Yes, theyare
Good
Finger
What
demands
are
say
studies for plainfingerwork?
rni_
you
touch, etc.,
case
your
be determined
without
What
way
very
good,providedthe
94
PIANO
teacher
insists that
what
QUESTIONS
the
is indicated
merely "come
Living in
near
actly
pupil plays ex-
and
does
not
it."
the
of for
Books
Etudes
me
telling
study. I have
what
Etudes
but
ought to
finished those by Cramer
Moscheles, and can
play them well,
find those by Chopin too difficult.
Are
there
and
You
intermediate
no
to be fond
seem
of
works
playingEtudes.
Etudes
for
Technique and
by Edmund
Expression,"
Neupert.
"Concert
Etudes," by Hans
Seeling
(PetersEdition).
"Etudes," by Carl Baermann
(two
books), publishedin Germany.
tion).
"Etudes," by Ruthardt
(Peters Ediwhy not select an easy Etude by
The
best
start?
a
Chopin and make
selves
preparation if not the Etudes themis Heller's Opus 154.
But
"
"
Etudes
For
Advanced
Piayers
Work
to
**
at
"
HI
PIANO
96
QUESTIONS
with
combine
value and
greater musical
usefulness
attractiveness.
POLYRHYTHMS
Playing
Duple
How
must
triplets
played
execute
In
?
againsttwo-eighths
No- 3"
Apimi atina" "PUS 37"
dementi's
Son-
first Pa"e"
y"u
think
tempo it
slow
of the second
tripletas
sixteenths.
being
may
serve
eighth-noteof
subdivided
to
you
into
the
two
have
played
of their respective
the first note
groups
the placeof the aforesaid
simultaneously,
sixteenth is to be filled by the
second
of the couplet.In faster
second
note
it is far better to practise
motion
at first
each
hand
alone
and
with
exaggeratedaccents of each
the two
relative speeds are
in the
the two
mind.
Then
somewhat
group until
estabwell lished
try
to
togetherin a sort of
Frequent correct
way.
hands
play
automatic
semi-
repe-
PIANO
tition of the
your
and
listen to and
the
division
exact
fractions
soon
change
into
scious
con-
train
to
ear
your
different rhythms
time.
same
is but
of the
the
would
left?
lead
has
terms
for
one
way
to
Is
an
no
to
such
means
expressing.
play unequal
in both hands;
rhythms simultaneously
until you can
study each hand separately
depend upon it,and put them together
of either rhythm. Think
without thinking
have
of the pointswhere the two hands
to
meet,
the "dead
points"of
the
two
Two
Rhythms
musician
no
The
rightbe
possible?
division
as
of the
notes
three
measuringand
There
the
the four
played to
An
thus
97
promptu,
exact
state
control two
groupingsat
How
of
figurewill
same
semi-automatic
one,
or
QUESTIONS
PIANO
98
How
should
QUESTIONS
the
above-quotednotes
?
ofZHH"be brouglltin with the lower triPlets
It would
be futile to attempt a precise
Time
The
Old
Against and
npe
The
conscious
division
in
such
cases.
to
do
is to
the hands
practise
separatelywith
each beat until
accent
an
on
exaggerated
the pointswhere the hands meet
well
are
and
conceived
the relative speed ratios
well understood.
Then
are
try to play
the
hands
together,and do not be
discouragedif the first attempts fail.
Repeat the trial often and you will
finallysucceed if the separate practice
has been sufficient to produce a semiautomatic
action of the hands.
PHRASING
Can
concise
a
give an amateur
and
phrasingand a few helpful
to clear phrasing
?
as
Practice suggestions
,"/ Phrasing is a rational division and
The Value
an
mgr
you
definition of
subdivision
serves
to
of
make
musical
them
closelywith
corresponds
literature and
your
and
It
intelligible.
punctuationin
its recitation.
pointof
sentences,
the
phrase. The
Find
out
culminating
last-named
QUESTIONS
PIANO
is
99
usuallyto
note
erally
usuallyindicated by phrasingslurs. Genof the melody
the rising
speaking,
with an increase of strength
is combined
to
up
in
of every detail
phraseoccurringin an agitated
the
influence
in it. A
rendition
movement,
to be
from a similardifferently
ment.
lookingphrasein a slow, dreamy move-
rendered
In
very
observinga
raised from
made
regularway
observe
arm
wrist
be
pause,
the
from
Do
should
octaves
staccato
111
motion
to conclude
or
be
other
Marking
Rett
is prescribed.
a
phrase,or
say, is to liftthe
keyboard and keep the
as
Not
5?"*
.
only in rapidwrist
the hand
the wrist?
Such
Never!
rest should
you
PIANO
100
QUESTIONS
RUBATO
what
is the
pleasetell me
of Pla7ingrukato ?
PRubato
The
artistic principles
rulingrubato
playing are
good taste and keeping
within
artistic bounds.
The
physical
is balance.
What you shorten of
principle
the time in one
phraseor part of a phrase
add at the first opportunity
to
you must
As
to
Will
you
best method
(rubato)in
pieceshall
hence, the
not
time-value
be affected
rubato
can
within
be
aesthetic law
The
total
the
consumed
be
placemay
one
in another.
that
in order
another
if the
of
"stolen"
restituted
demands
a
music
by any rubato,
only have sway
time
as
piece were
would
played
to
Passages
Marked
"Rvbato"
I find
which
an
says
J
melody
may
explanationof tempo
that the hand
move
with
rubato
which
all
plays the
"14
possiblefree-
must
QUESTIONS
PIANO
phrase and
short
bato
time
words
quote
you
but a mere
tion
asserexplanation,
rather, allegation.Tempo ruor,
of
a
means
wavering,a vacillating
values, and the questionwhether
not
are
torily.
hardly satisfac-
then
Besides, the
101
an
this is to extend
both
over
hands
or
over
can
you
do I
In
not
you unite
only very few cases
hand
of each
I
some
I doubt
see
when
to
could
see
them, but
playingrubato
preconceived notion
the moment?
do
or
which
still less
follow a Perfect
you
the impulse of Rubat"the
Result of
Momentary
"
Perfect
is possible
expression
onlyunder
Hence, the perfectrubato
perfectfreedom.
must
be
the
result
of
momentary
Impulse
over
QUESTIONS
PIANO
102
this
of
means
expressionas
to
feel
pulses
imtrustingtheir momentary
The
player
altogether.
average
consider the
will do well carefully
to
of time values and
to prepare
shifting
their execution to a certain degree.This
safe
in
Between
Is there
"",...
con-
"
Conception Conception
and Rubato comprisesthe
term
and
generic
and
all
service of each
is
which rubato
expression,
among
prominent part. For
playsa somewhat
it is,so to speak,the musical pulse-beat
to
of the player. Being subordinate
conception,its function and manner
be governedby the latter.
must
of
means
CONCEPTION
st^^ be
uallyCorrect stance
in each
correct
individually
in-
Certainly!Provided
the conception be
"
that
it
"
whatever
preserves
the
PIANO
104
of
QUESTIONS
the
Should
OF
EXAMPLE
THEORY
Why
the
Pianist
Should
Study
Harmony
Do you recommend
the studyof harmony
an(j counterpoint to the piano student?
-D
*ty
11
*"
means!
insightinto
must
the
"
rr"
To
pieces you
harmonies
and
treatment
"
understand
musical
gam
play
course
you
of their
the
puntal
contra-
of their themes.
With-
PIANO
QUESTIONS
105
ous
knowledge gainedthrough a seristudy of harmony and counter-point
will be pure guesswork
your conceptions
the
out
and
definiteness.
is it
so
harmonic
the many
music
and
modern
turns
which
that
in
occur
could
not
demonstrated
intelligently
unless
eight,nine
seven,
be
use
we
or
more
has
eightsharps.
Is it absolutely
necessary
tive)
rela-
(itsnext
see
harmony ?
the use!
for
me
with
Of what
to
do
to
my
The
^"^0"'v
it, to
benefit
Re-
Piano-
PIANO
106
benefit is the
what
Of
QUESTIONS
generalschoolwork
child has to go through? To
a
play the piano well a good hand and so
hours of practice
not sufficient;
are
many
it requiresa generalmusical education.
This
firstand
means,
foremost,
edge
knowl-
of
Qr
ofe
i_
harmony
The
care
you
Qf ^
to
recommend
kest books
two
the
on
study
a
?
doctrine
the
harmony is ever
of teachingit are
but the modes
same,
proving.
constantlychanging and, I trust, imof
For this
hesitation in
recommending
text-books
the
years
that
ago,
I feel
reason
which
as
especially
I
I
at
this time
studied
am
certain
not
many
certain
E.
dealer.
wrote
works
though no
studied.
of
F.
Richter
and
Bussler
recognizedmerit, which,
longermodern, may be safely
QUESTIONS
PIANO
Is it possible
to learn
a
teacher,
so
Learning
Modu'
\"
late
different
pieces of
two
connect
to
as
modulatingfrom
the aid of
without
book
107
?
tonality
but
Possible, yes,
written
since in your
to
likely
point
to
one
show
at
err
exercises
you
will need
times, you
out
the
you
probable;for
not
way
to
some
and
errors
your
are
so
them.
correct
Is
it
without
'
can
you
It is
recommend
never
and
text-book
advice
book
what
to
lor its
misunderstand
to
never
Otherwise
you
are
your
commit
will
One's
need
any
the
in
experiencedmusician
them.
A good teacher, however,
correcting
is always better
than
book
a
for this study. Of
text-books
there
are
a
Any reliable music
great many.
house
them.
of
an
will furnish
you
Co^te^pmnt
study?
providedyou
quitepossible,
certain
errors.
so,
with
list of
by
Self
PIANO
108
Besides
Should
P"""
Students
QUESTIONS
study of
my
which
of
will
constructing
work
musical
his hand
it.
at
still,there
it will not
Sonata
more
touch
Beethoven
try
if you
course,
can
enable
Sonata;
be
may
struct
con-
littlepiece to
Of
reconstruct
dition
ren-
Hence,
feels able to
who
only a two-step
to
the
means.
modest
even
work
one
ways
al-
of reconstructing,
what
is, practically,
I advise every
write
talent for it ?
some
facilitate your
down
inclination
..
you
piano shall I
if I feel the
to compose
try
J
rT
.
the
that
with
on
the
technical
paper
what
act
your
of
putting
mind
has
lose the
you will altogether
of the absolute
stranger when
created, and
attitude
facinga
composition.Do
new
this,however,
to write
^
Wants
to
encouragement
an
advise
me
as
to
the
best
Compose cou\^
strue
con-
two-steps!
Please
The
as
not
work
leam
of
that
kind
from
best way
is the
which
First learn
to
write
notes.
Copying
all sorts
PIANO
QUESTIONS
of music
is the best
Then
that.
study
for
practice
doctrine
the
of harmony.
it up by a study of the
of counterpoint.Proceed
Follow
various
109
forms
canon
are
many,
is
good
teacher.
is the
What
major
minor
and
between
difference
of semitones
arrangement
character, or in both ?
the
There
are
three
The
it lie in
Does
scale ?
the
or
in the Major
an?
differences: First, in
scales
number
melodic
is the
or
insists upon
minor
scale admits
of modifications
purposes which
major scale.
Which
the
cannot
be
true
minor
the harmonic
the
for melodic
Will you
ugly to me.
somethingabout it?
scale, the
teacher
My
harmonic,
in the
made
but
There
Of*
Mino
it sounds
please
tell
me
Scale
is
PIANO
110
There
one
QUESTIONS
is but
which
upon
minor
one
scale;it is the
the chords
of its tonality
called
melodic
minor
scale
offers
no
that form
to
scale which
of deviation
from
the
real
is most
used, but
frequently
is by no
which
the only deviation
means
that is possible;
is it the only
nor
in
one
What
the
is
use.
What
is the
ence
Be-
tween
the
between
the
scales ?
*L
I he
scale
has
a
major
sixth, while the minor
third
minor
Scales?
difference
seventh
and
sixth
...
major
third
scale has
and
raises
its
dental
major seventh by an accinatural
a
elevatingsign,raising
note
by a sharp,and a flat note by a
natural.
If you beginyour major scale
it as
upon its sixth degreeand, counting
to
obtain
however,
many
modifications
for melodic
harmonic)purposes.
(though
are
not
missibl
ad-
for
PIANO
QUESTIONS
in olden times
sing)meant
a music
pieceto be sung; while "Sonata"
to
(from suonare
play) designateda
piece to be played on an instrument;
and
"Toccato"
meant
a
piece for keyboard
like the organ or piano
instruments
cantare
to
"
"
and
its precursors,
written with the intention
of providingspecialopportunities
for the
displayof
(from toccare
to
"
touch) or,
as
we
would
say,
Cantata
modern
Toccata
a
Sonata.
is, at present,understood
piecein
very
"moto
and
much
constant
like
and
those
The
to
be
regularmotion,
that
are
called
perpetuo"or "perpetualmotion,"
Weber's
of which
"Perpetuum mobile"
is a good example. I have
doubt
no
that the Toccata
by Chaminade, which
I do not know, is written
THE
similar lines.
MEMORY
memorization
absolutelyessential
Playing
Is
Mem"yto
good player?
Playingfrom memory
Is Indi*-
on
pensablej-o ^
freedom
is
indispensable
of rendition.
You
have
QUESTIONS
PIANO
113
the
and memory
in your mind
piecein order to attend properly
bear
to
whole
players
renowned
Some
its details.
to
who
"
of
nervousness.
Will you
easiest way
pleasetell me
to
memorize
.
piano piece?
few
The
Easiest
Way
playingit
is the
which
to
a
Begin by
very Memorize
and slowlyuntil you can
play
carefully
it with a fair degree of exactitude (you
occasional stopping).
need not mind
an
such placesas appeared
Then
go over
to
complex until you
especially
you
understand
the
times
their construction.
piecerest
for
whole
day
Now
let
and
try
to trace
satisfied with
stop be
achieved.
Your
mind
what
you
will keep on
have
ing,
work-
a
as
over
subconsciously,
puzzle,
always tryingto find the continuation.
If you
is
blank
PIANO
114
take
QUESTIONS
music
the
in
but
particularplace
"
have
continue
hand, look
now
the
outlines.
that you
can
have
transition
and
to
now
at
found
work
this
the
of
now
nection,
con-
stop repeat
have
this
the
reached
play it from
"
mental
not
You
only
the
at
large
mean
memory.
transfer
to
the instrument
what
you
do
to
mentally absorbed.
Try
this piece by piece,and look into the
printedsheets (which should not be on
from
but away
the music-rack
it) only
when
absolutelyrefuses
memory
your
The real work with the printed
to go.on.
have
music
should
be
reserved
to
the
last,
you
should
PIANO
sensitiveness
with
QUESTIONS
the
to
I find it very
music.
Can
that would
To
not
hard
memorize
to
my
method
suggest any
you
make
it easier?
retain in one's
interest
while
115
is difficultto
one
that which
easy.
In your
seems
to
be
Mem"to.
does
everybody,
interest
does
Order
Easily
what
memory
In
us
comes
case
that
interest in the
your
play be awakened.
This interest usually
with a deeper
comes
of music; hence, it may
understanding
be said that nothingwill assist a naturally
reluctant memory
much
so
as
a
general
musical
education.
Specialstudies for
piecesyou
are
the memory
have
because
them.
After
is
to
"
another
the
memory
to
not
had
never
memorize.
One
to-morrow,
and
by
need
any
grows
edge
knowl-
to my
come
to
of
rize
memo-
day,
phrase toso
its
until
on,
force
own
throughbeing exercised.
I memorize
often
,
before
play
TV
technical
very
my
have
so
easily,
that I
pieces from
"
11
fully
as
difficulties,
mastered
my
Memoriz-
can
memory
j
Ai
IH9
Qulck
and
For'
"
their
gettingas
teacher Readily
PIANO
116
But
says.
remember
in
make
to
them
few
enough
through.
clear
advise,
forget
that
quickly,so
them
QUESTIONS
of
weeks
them
What
my
just
I
as
not
can-
play
to
would
you
more
memory
retentive ?
There
memory
fundamental
types of
is very mobile
quicklyand loses justas
:
One
the other is
"
two
are
cumbrous
more
it
"
quires
ac-
quickly;
in its action
it acquires
slowly,but retains forever.
combination
indeed; I
of the
heard
never
two
is very
of such
rare,
case.
remedy againstforgetting
you will find
in refreshing
in regular
your
memory
periods,playingyour memorized
pieces
over
(carefully)
every four or five days.
Other
remedies
for
necessity
I know
not
and
see
no
them.
alwaysmemorize a piecebefore
Errors
J can
pjay ft fast J)Q yQU a(Jvise pracwith notes
when
I alreadyknow
Creeping tising
in it by heart ?
The occasional playingof a memorized
piece from the notes will keep errors
from creepingin, providedyou read the
music correctly
and carefully.
To
Keep
can
PIANO
QUESTIONS
SIGHT
Is
,
any
assist
will
.
there
,.
READING
practicalmethod
to
one
117
greater
that
in ^"^
rapidity
*
The
best
Best
to
Improve
?
sight-reading
.
The
become
quick Reading
much
reader is to
as
as
possible.
The
rapidityof your progress depends
the state of your generalmusical
upon
education, for the more
complete this
way
read
to
What
is
ACCOMPANYING
How
can
one
learn
to
accompany
at
Learning
to
sight?
Develop your sight-reading
by playing
Accom*
"
PIANO
118
QUESTIONS
many
"
The
How
Art
of Accompanying
"
should
paniment for
a
Soloist
the accommanage
soloist inclined to play
one
a
""*
rubato?
Since
make
cannot
you
contract
of
artistically
binding force with a soloist
take refuge in "following."
must
you
But
do
meaning;
the
take
not
this word
rather
in its literal
endeavour
to
divine
soul of
sense,
accompanying. To be,
a
good accompanist,one
have
what
good
"nose"
is called
"scent"
that
"
whither
in musical
is, one
must
in this
must
slang a
cally
musi-
is one
of the
thingswe
born with.
We may developit,as to
are
but we
its sensitiveness,
cannot
acquirea
nose
Experiencewill do much
by learning.
but not everything,
in these premises,
Learning
the Art o]
panying
nose
an
Wishing to become
accompanistI
completingmy studies in Beranticipate
lin. What salary
might I expect and what
would be the best "course"
to pursue?
PIANO
120
QUESTIONS
new
old.
the
placed on
were
goods
facilitate this
course,
to
were
you
floor
they
as
Practice
will,
very
process
sightis based
Transpositionat
Here
different principles.
somewhat
have to get mentallysettled in the
and then follow the course
tonality,
find transposition
intervals. If you
much.
on
you
new
of
and
at sight
is,of
transposing
stillmore
course,
difficultthan
studyingthe piecebeforehand.
after
"p
During
T""may ^ P^
to
should
or
PEOPLE
FOR
PLAYING
When
to transpose
outside world?
time
From
take
afterward
good
"
play for
time
you may
piecesyou have
people the
but
to
to
care
go
mastered,
over
them
the difficultplacesslowly
"
play
for
peopleis
for
further
or
To
centiv
only a good init also
aspirations;
not
PIANO
QUESTIONS
121
exact estimate
fairly
and
shortcomings,
ment.
thereby the road to improve-
retire from
lived,
during the period of study is an outobsolete idea which probablyoriginated
in
the
endeavour
to
curb
the
would
neglect
their studies in hunting,prematurely,
for applause. I recommend
playingfor
peoplemoderatelyand on the condition
that for every such "performance" of
a
piece you play it afterward twice,
This
home.
at
slowly and carefully,
will keep the pieceintact and bringyou
other unexpectedadvantages.
many
vanityof
can
such
vousness.
as
myselfjusticewhen
people,because of my ner-
never
playingfor
students
How
do
can
overcome
"Afraid
jj^
it?
People9'
and
are
self-consciousness,
or,
worse
yet, for
to
QUESTIONS
PIANO
conscience"
*'bad
on
the
of technical
score
learn to discard
must
you
thought of
well
all
of
as
and
you,
concentrate
your thinkingupon the work
well achieve
This you can
you are to do.
your
and persistent
self-training
by will-power
I
Effectof
have
heard
h^Same
P^ece
vear
Piece
Often
artists
a^ter vear"
an(l
before.
as
expressively
been played several
k^
it can
hardlyproduce on
same
did.
and
tones
same
^me
eacn
After
hundred
as
piece
times
the
playerthe
emotional
effect that it originally
Is it possible
for a playerby his art
technical
that he
his audience
resources
can
an
music
so
to
stimulate and
emotional
the
play
at
emotion
colour
his
producein
condition which
be
conveyed
of
and modes
only through the means
expressionthat are peculiarto music,
such
as
dynamic changes, vacillations
public very
often
on
consecutive
occa-
QUESTIONS
PIANO
sions
they
which
"
can
"
assume
capableof
in
time
artists avoid
123
much
as
as
expressionsgradually
which
is quite
distinct form
preservation.Though it will
these
can
still
one
tage.
great advan-
play a piecevery
to slow
I love music
dearlyand
my
teacher is
The
PIANO
124
just possiblethat
It is
and
to
QUESTIONS
not
may
your mother
the high class of music
if this is not
play, but
affliction cannot
the
should
in
of
lack
be
your friends
be amenable
which
the
case
your
If
offhand.
cured
in
expression
from
emanate
then
yourself,
your
lack of
play
because
not
you
you do
to
"
then
no
you are
remedies
that would
good
good
music.
The
Art
of
"
are
close associations
lovers of
with
By lookingwell
employ
habit
ing
listen-
and
of sion
expresfirst by imitation
them
of
"saying something'*
you
In the musical
how
Pla$ith
in your
be so
directly.I
know
can
until the
act
and
musicians
with
chanicall
"me-
curable, althoughthere
you
and
curable
be in-
If, however,
playing
feeling
would
case
your
you
does
the
manifestations
artist
I
you.
inward
outward
of
feeling
differ
ctiefly
from
PIANO
The
due
QUESTIONS
125
with
artist expresses his feelings
the canons
of art.
deference
to
all, he
Above
plays correctlywithout
to
allowingthis ever-presentcorrectness
make his playingseem
lackingin feeling.
Without unduly repressing
or
suppressing
he respects the comhis individuality
poser's
intentions by punctiliously
ing
obeyhe finds in
every hint or suggestion
the annotations, concerning
speed,force,
livers
touch, changes,contrasts, etc. He dethe composer'smessage
truthfully.
reveals
His personality
or
individuality
he understands
itself solelyin the way
and in the manner
the composition
in
the composer'sprewhich
he executes
scriptions
Not
Long before he
is able to play the piece correctly
he
beginsto twist and turn thingsin it to
so
the amateur.
suit himself,under
that
he
so
in all manner
licence.
to
strong as
an
justify
gence
indul-
of "liberties,"
that is,
Feelingis
great thing;so is
the will to express
it; but both are
worthless without ability.Hence, before
a
with feeling,
it were
playing
well to make
PIANO
126
QUESTIONS
that
in the piece is in
everything
the rightplace,
in the righttime, strength,
touch, and so forth. Correct reading
and not only of the notes
is a
per se
that every good teacher
matter
insists
in the earliest
even
upon with his pupils,
The
amateur
grades of advancement.
sure
"
"
should
allows
make
his
Piano
that
"feelings"to
he very seldom
Affected
of
sure
run
before
riot.
he
But
does.
the
exaggeratedmotion
all
grotesque actions
of the arms,
and
in
general while
hibited
playing the piano, so frequentlyexbut by
not
only by amateurs
too?
concert
players,
All such
a
actions
as
you
describe reveal
lack of the
when
in.
case,
player's
proper self-control
they are unconsciouslyindulged
When
mitted,
they are
consciouslycomwhich
the
is not
infrequently
effort to
they betray the pianist's
deflect the
auditors'
attention
from
the
PIANO
128
to his hearers
QUESTIONS
the
of a composition
totality
while the stringinstruments depend for
the most
part upon the accompaniments
of
other instruments.
some
Being a
Piano
Study become
ductor and
Composer
conductor
should
player,and wishingto
cornet
and
I
composer,
if the study of the
like to know
is necessary
in addition to
broad, theoretical studies and a common
piano
my
course.
college
It depends
conduct
what
upon
you wish to
what to compose.
With no
of musically expressing
and
other
means
yourselfthan
it is
cornet
probabl
highlyim-
to
Piano
do
Why
more
dance
or
aims
take to the
means
the
march
musical
your
Why
are
piece. If
serious by all
piano.
people play the piano
than
Popular
music
on
studyare
any
other
easier
on
instrument.
the
stages of
pianothan
The
higher
much
so
more
stages, however, are
and it is then that the piano
difficult,
QUESTIONS
PIANO
gets
with
even
bold
the
'cellistwho
violinistor
can
129
aggressor.
play a melody
tyro. When
merest
he
approaches
tion
the discrimina-
when
polyphony,
begins between the various parts
speaking simultaneously,
aye, then the
real work
begins not to speak of
velocity.It is,perhaps,for this reason
there are
that in reality
a
great many
if by either
violinists than pianists,
more
who
we
mean
reallymaster
persons
"
The
their instrument.
is smaller, but
be
the
reason
literature and
does
violin.
of the instrument,
admit
not
for
as,
handy
piano
for this is to
small
unwieldiness
which
of 'cellists
range of 'cello
also, perhaps,in the comparative
in the
found
number
of technical
instance, the
velopment
de-
more
If all
beginnersat the
realized what
assing,
harexasperating,
discouraging,nerve-consuming
difficulties await
them
the
mastery which
path
to
that
beset
later and
so
few
PIANO
130
QUESTIONS
and
violin
and
the
or
far fewer
people would
more
wind
the
be
'cello. Of
instruments
the
piano
study
harp
need
not
"
The
^
Piano
Hand
What
the
various
lengthof
to
Com-
Player
you
to
advise
it is the
but
most
The
proportion
important.
playerswith
by
compositions
Never!
be in
of the hand,
I consider
which
Would
hands
the
must
fingers
the width
width
The
the
muscles.
of
sets
small
class of
Liszt?
Whether
the
hands
are
too
PIANO
QUESTIONS
131
the
fingers
if you
too
narrow
attempt a piece
which for these or other physical
reasons
fullymaster, you always run
you cannot
the serious risk of overstraining.
This,
avoided.
however, should be most carefully
If you cannot
playa certain piecewithout
undue
physicalstrain,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
of execution.
rapidity
small
or
"
What
physicalexercises
to
vantageous
be
taken
are
in
ad-
most
connection
piano
ing clubs to
I
am
1 have
been
swing-
jw
inclined to think
not
that what
far from
replacethe
the
you
truth.
real clubs
by
Since
imaginary ones?
club-swinging
tends to developthe agility
of the arms
wrists rather than
and
their strength
motions
easilymake the same
you can
you
without
^e
Pianist
strengthenwrists and arms,
imaginedit stiffened my fingers.
imagined was
Can
rhys'lcal
practice?
but have
Best
Exercise
".
with
The
not
the
of
PIANO
132
force that
QUESTIONS
keeps
the hands
is bound
condition
to
in
have
bad
closed
effect
air,for it engages
in the open
and
of the
organ
every
every
body, and
part
by
ac]". nof;
.
the
it and
Fingers
objectsto
but
altogether,
teacher
My
Horseback
"
"
/v
it stiffens my
Yes, he
is.
horsemy riding
he says I overdo
f*
"
?
Is he right
nngers.
Every abuse carries its
in another.
When
to
think
I should
ybu
study the piano justbecause
Do
j^eap
from
the
Piano
of
me,
Most
and
when
I take
no
no!
emphatically,
play
and
it is asked
interest in it?
It would
be
PIANO
is distasteful to
study that
failure.
to
who
Leave
heaven, there
are
always
perhapstoo
after
music
you
sure,
lack of
oppositionto a
urgingon the part
strenuous
time
feel
will find
the
be
would
advice
My
while, you
Be
some!
mere
to
in it. Thank
well between
relatives.
of your
people
to
not interested,
really
are
discriminate
interest and
be
lead
to
of those, and
stillsome
will
study
interested
sincerely
are
there
this
by
and
you,
be, therefore,bound
this would
music
killed
be
left would
have
may
you
against
in
little interest
What
music.
133
againstyourselfand
crime
QUESTIONS
if,
entirely;
craving for
to
way
your
instrument.
good
of music
student.
MUSIC
BAD
Must
when
pieces
r
T
If,
in
"i
i-j.
"i
wish
music
?
That
to
be
One
Keeps in
QUESTIONS
PIANO
134
"
with
higherclass in
Remember
the world
that
of music.
through
a
gettingdusty. Of
music are
not all piecesof dance
course,
bad; but the generalrun of them are such
poor, if not vulgar,stuff as hardly to
of "compositions."
deserve
the name
Usuallythey are mere
"expositions"of
cannot
you
flour-mill without
bad
taste.
your
the
own
Of
these
if you
sake, and
entirely.If
be, why, have you
waltzes and
Injurious
Do
ern
wish
you
for
to avoid
and
it
from
Rag-
wTarn
the bad
Why
go
dance
never
mazurkas
it must
music
heard
of the
by Chopin ?
believe the
to the student?
frolic;though
might
vent
touch
with
"
such
mood
hurtful, whatever
assume
even
merely
whether
form
it be
never
be
The
but
vulgaritymay
literature,a
PIANO
136
PITCH
The
International
tional
Pitch
What
QUESTIONS
AND
KINDRED
MATTERS
is meant
by "pitch" as regards
pjanotuning? Peoplesay that a certain
piano is pitched lower than another.
E on
Would
one
piano actuallysound
like F
on
another?
Yes, it would
if the
not
pianos were
pitched alike. It is only recentlythat
lished
international pitch has been estaban
which
was
adopted everywhere
except in England. In the international
pitch the A in the second space of the
treble staffmakes
national"
cert"
second.
"international"?
or
a11
Bv
vibrations
"conpianopitchis preferable,
Which
Inter-
435
the
means
cause
"international,"be-
matter
it may
whence
the international
as
a
far
back
government
among
pitchwas
as
1859,
decided
in
commission,
its members
such
Besides,
come.
men
upon
Paris, by
numbering
as
Auber,
Rossini,AmHalevy,Berlioz, Meyerbeer,
and
broise Thomas, and many
physicists
can
easilyinfer
generals.You
army
from this that, in determiningthat the
QUESTIONS
PIANO
in the second
should
have
space
vibrations
435
eighthsof
B-flat
the
on
There
is
every
to the
the
on
is
however,
since
Well-
p^o"
piano.
difference,
would
waste
the
evenly-tempered
has been generallyadopted,and
compositionfrom Bach's time
presentday has been thought and
time,
scale
and
The
Scale
difference
no
which,
over
A-sharp
piano?
there
acoustically
But
no
between
tone
been
have
"
difference of three-
reallya
a
second,
vocal,instrumental,
"
137
written in it.
Is it not
one
particularkey
r,
or
mistaken
more
or
,.
melodious
The
is
idea
than
effectof
another
that
any
less rich
The
"c'0frcmr"
of
tonality
upon our hearing
lies not in its signature
ven
Beetho(as even
but in the vibration
seemed to believe)
proportions.It is, therefore,irrelevant
whether
we
play a piece upon a highpitchedpianoin C, or upon a low-pitched
pianoin D flat. There are certain keys
a
Various
PIANO
138
to
preferable
QUESTIONS
others
but
I fear that
not
upon
We
acoustic
apply the
colours,
preferenceis based
but rather
qualities
upon
the
for certain
hand
"colour"
word
voice.
or
much
as
the
paintersapply "tone" to
colour, but I hardlythink that anybody
would speak of C major as representing
black, or F major green.
to
tone
as
STUDENT'S
THE
a
Starting
At
age should
instrumental
what
M^ai study
"f
AGE
child
begin the
music?
If
my
is to study the
piano,or
usual
The
the
study
and
seven
needs
become
age for
of music
to
a
well-rounded
other
vocalists, will
well
versa
A
years.
learn another
as
violinists,
all
vice
as
child
is
much
to
begin
between
six
pianist hardly
instrument
musician,
the
instruments,
be
years
to
but
players of
and
also
hampered in
development if
general musical
be
they fail to acquire what
may
called a
speaking acquaintance with
the piano.
their
QUESTIONS
PIANO
I
take
cannot
a
longer in
not
am
week, and
advise
to
me
first
youth,Age
the
lesson
hour's
one
of
than
more
practise
still
day. Would
you
begin the study of the
cannot
hours
three
than
more
my
139
piano?
there is
Provided
the
age
the
will,and
need
used, and
with
hours
your
of
you
way.
your
hour's
lesson
you
If
properly
study are
good teacher,
discouraged.
become
Do
in
stand
not
three
your
giftand intelligence,
opportunityto study,
week
should
is
is
not
when the
or
unlikely
impossible
is twenty-five
ner
to
years of age ?
It is neither unlikelynor
impossible.
Your age will to some
degree handicap
causes
you, because from purelyphysical
the elasticity
of the fingers
and
wrists
could be developedmuch
more
quickly
if you
you
giftsin
results
ever,
If,howyears younger.
endowed
with strongmusical
ten
were
are
the
abstract
you
will
achieve
Begin
PIANO
140
QUESTIONS
will find
beginningyou
and
satisfaction,
bound
be
to
I have
Im-
of
LESSONS
TEACHERS,
The
attainments
your
source
joy to
AND
are
you.
METHODS
is very
who
son
great inward
desirous of
to
learninS
P"^a7the
The
small town.
of your
seriousness
aggravated by
the
live in
town,
small
in your
found
only such
for
of
the
for
dangerous
bad
you
that there is
And
that I
For
that
can
yet it is
recommend
nothing is
development
foundation.
more
of
people have
from
of
the
habits
ignorantteacher
an
stagesof
failed.
bad
I should
rid
acquired
in the
mentary
rudi-
studies,and have
advise you
to
try your
near-by
your boy to some
excellent teacher.
there is an
best to send
citywhere
their
Many
talent than
themselves
be
abilityto
town.
one
son.
your
and
teacher
possiblyno
be
statement
questionis
PIANO
QUESTIONS
141
sake
of my
and
knowing
for the
the
even
go to
would
or
once
not
to
necessary
at
great love
an
a
for
music,
$0
notes, is it
expensiveteacher
cheaperteacher do
beginning?
is to
If music
be
merely a pastime,
and you content
mum
yourselfwith a miniof knowledge,
the cheaper teacher
will do; but if you
aspireto become
musical in a better sense,
why, by all
apply to a teacher of the better
means,
class.
this
The
maxim:
that is
or
you think of an
the foundation
we
put
the
beginning
good enough," is
harmful
the most
"For
fallacies. What
architect who
loam
sandstone
is
house
one
of
would
says: "For
good enough;
it,any
over
Shall I take
my
lessons in
music
Music
Schools
teacher?
private
schools are
Music
aprivat
very good for acquiring a generalmusical education. Teachers
school
or
from
PIANO
142
QUESTIONS
the
would
advise
should
General
be
combination:
point,
harmony, counterforms, history,and aesthetics
lessons for
music school;and private
teacher who
from
has
a
specialty
matters
"
"
in
.
your
established
an
artist. The
such
you
?d" a
arCor*
half
advise
music
schools
have
in these
music
For
attendance
or
or
a
you
at
collegeof
conservatory?
generalmusical
always recommend
think
lessons from
an
education
good
conservatory. For
piano I
and
continuance
tervatory?teacher
or
executive
an
After
Individ-
best
at
man
as
name
it best
the
to
artist who
music
school
study
of the
take
private
is experienced
PIANO
144
vice
QUESTIONS
The
versa.
into the
enter
questionof
of eminent
greater number
found
Too
Muck
61 "
Of
matter.
the masculine
on
does not
sex
the
course,
teachers
are
side.
My recently
engaged teacher says that
the word
"method"
jars on her nerves.
Kindly advise me whether a method is
not the best thingfor a novice,and, if so,
which
one
teacher, while
Your
possiblya
little
America
is
wrong.
method-ridden
country in the
is not
over-sensitive,
"
the
most
some
grainof
truth to
in her
the
Is
of
ton
ballast.
mere
makes
excellent
have
to
reason
the
does
otner
Leschetizkymethod
in what
and
methods,
you
trust
guidance.
How
arts:
think
me
her, and
lucky in finding
were
rank witb
Lelizk~
Method
"
teacher's utterance
that you
that you
What
good points
contain
Your
in vogue
about
a
of the methods
Most
world.
are
good
do
not
methods
you
one
and
bad
specifywith
wish
in all the
methods
but two
to
one.
what
compare
Since
"other"
that of
QUESTIONS
PIANO
LeschetizkyI
cannot
definiteness. There
But
"methods"!
based
are
for that
upon
answer
with
you
alas, so
many
the majorityof them
are,
deliberate
which
reverence
145
disregard
is due
to
great
I think
that
he
believes in
of the
arms
and
very
sort
of
tendons
hands.
young
but
even
this
matter
he
is apt to
of
cases
taste.
I have
Either
Trust
or
New
Get
left
with
pages of it.
We
moved
One
to
teacjier
book,
the
using
it,and
about
not
would
she
as
or,
I do
book.
such
over
first teacher; it
my
and I learned only
expensive,
very
few
Method,"
"Piano
lessons
from
was
Teacher
QUESTIONS
PIANO
146
know
thank
differ-
objectsto
says, any
what to do
for your
you
advice.
When
apply to
you
in your
have
mind
own
whether
absolute
not
ability.If
you
for instruct
must,
you
teacher
you
confidence
trust
him
you
have
or
in
his
must
do
as
you
are
much
matter.
or
By
little,
plays no
part in the
what
of the
teacher, however,
you
I
say
am
new
disposed to
For
Little
PIANO
QUESTIONS
147
that point
and
your mind is clear on
it seems
that a one-sided deto be
velopment
"
"
(in this
case
technical)is
talent of
dangerous to the "musical"
little daughter,why, then, your
your
little girlis, indeed, "out of danger."
is a credit to your
Your
very question
insight.
Is it better for
hour
one
a
lesson
or
young
two
student to take
Frequent
half-hour lessons
a^orw
week?
Shorter
or
lesson
or
plan
equidistant
parts.
is better for
child of
Number
^ Le9S^
on
Pr"9res*
child's age is not the determining
factor in this matter; it is his musical
The
status.
Is
a
one
lesson
piano student
It will be
week
inadequatefor
On*
sufficient in the
more
vanced
ad-
PIANO
148
QUESTIONS
the
eye twice
What
Better Not
a^ter
nVChild
Classics
week
littleclassics are
best for
collections without
are
child
lessons ?
months'
s*x
There
"Modified
number
'
Qf facilitated
of
simplified
arrangements
but I do not altogether
classic pieces,
or
all, mentally
"
works
Can
as
ripe to approach
they are
such
written.
to go to
Is it necessary for me
Eausic studies?
to con^nue
my
Europe
Studied^n
America?
much,
also hear
of
it not
quite so
If you
why
much
"
sublime
but
not
abroad."
and
as
some
you
money
anticipated and,
"
last
upon
is
in America, their number
a
to spare,
people
growingless
public has
some
year
QUESTIONS
PIANO
149
as
as
returned
lamb
And
there not
should
why
mutton-head.
as
teachers in America
by
be
excellent
this time ?
Even
a
if you should insist upon
European
of the best
find many
teacher you can
Is it not simplerthat one
in America.
teacher
teach
hundred
to
go to America
students than that a
students
should
from
hundred
Europe
of
one
make
teacher?
the
trip
I should
to
native,resident Americans
To
be almost
came
foreigners.
in
quote a
in Berlin
and
from
case
various
sections of America
any
names
assure
you
that
PIANO
150
QUESTIONS
teachers in America
now
many
who, if they should go to Europe,would
there
are
draw
host of students
of
some
excellent
these
It is high time
personally.
belief
to the superstitious
men
to
put
in
know
end
an
"studying
abroad."
MISCELLANEOUS
Organiz-
"9cal
Club
Please
book
on
QUESTIONS
give me
musical
the
of
name
historyand
good
advise
me
to
name
the
"
"
that
perhaps, or
of
great
act,
How
Please
to Get
Music
listing a
Published
the
piece
name
of
to
go about
of music, and also
explainhow
some
,,.
,.
pubgive
good publishinghouses.
152
PIANO
failed.
Can
overcome
QUESTIONS
give me a
difficulty?
you
my
hint how
to
that your
is one
piano-playing
phase of a generalslowness. There is
but one
have
remedy for that. You
relied upon
teachers
to
develop
your
speed you should have relied
your
will-power.Try to will
upon your own
assume
"
it and
to
will
the
see
exertions
of
will.
so-called "wonder-children"
to
amount
That
anythingin
it is
mere
later life.
"wonder-children"
anythingin
by history.If
to
never
never
amount
borne
out
disappointments
either because
they astonished by
executive
precocity,instead of
some
are
QUESTIONS
PIANO
charmingby
153
because
their talent,or
they
by unscrupulousparents or
the promise
confounded
who
ruined
were
managers
of a future
its realization.
with
But,
aside from
were
violinists,
pianists,
composers,
The
what not.
'cellists,
or
biographies
became
of
well
as
of the
great masters
our
as
of
those
past centuries
times
recent
more
mann,
(Mendelssohn, Wagner, Chopin, Schuall the
child
me
shows
than
more
mere
"
of
fine musical
Shall
shall I
By
I attend
orchestra
to
givepreference
all
means
chamber-music
acquaintyou
attend
concerts!
with
those
concerts
or
orchestra
and
Concerts
these will
works
which
are,
Value
"1 Goin9
soloists?
For
The
PIANO
154
hear
QUESTIONS
than
interpretations
correct
more
latter,with
soloists. The
from
some
luminous
own
overestimate their
exceptions,
authorityand take such unseemly
liberties that
in many
Smith, Jones,
cases
hear
you
than Beethoven,
Levy
uality
Schumann,
or
Chopin. Individin a soloist is certainly
a
great
but only if it is tempered by a
quality,
more
or
the composer
deference
of
to
proper
in hand.
hear
the work
If you cannot
soloist who
is capableof sinkinghis
a
"
to
renditions
"individual"
the
or
nature
the
renditions of the
stringquartette. The
of the
of
thetic
syn-
forestalls
orchestra
uality
extravagances of so-called individand
insures, generally
speaking,a
The
interpretation.
conductor
imaginablecannot
harm to a composition
can
as
truthful
very
do as
a
worst
much
mediocre
orchestra is a largebody
for an
soloist,
and
moved
and, therefore, not so easily
shifted from
the
path of
musical rectitude
QUESTIONS
PIANO
singlevoice
is a
as
an
or
155
instrument.
really
great soloist is,of course, the finest
flower of the garden of appliedmusic,
for
his
with
touch
immediate
and
he
is
instrument
the
needs
middleman
no
of his tions;
concepand even
conductor
to express
while
the
"
imparthis conception
(through the baton, facial expression,
and gesture)to other people before it
the best
has to
"
become
can
audible, and
much
route
and
ardour
more
and
may
of the
cuitous
this cir-
on
fervour
original
be lost.
But
there
are
good
orchestra and
chamber-music
concerts.
years
before I
servatory,what
for my
You
method
and
technique
fail to
can
say
should
what
whether
think
Mason's
"Touch
it safe
and
to
teacher
to
go
beginneror alreadysomewhat
Still,I
That
con-
study student
Working
pieces?
Alon*
you
are
advanced.
recommend
Technique,"Stern-
PIANO
156
Music
a
Would
as
Profes-a
QUESTIONS
advise
you
gOO(j foundation
with
man
young
to choose
music
"
that
tion
is,
should
concertizing
"
he
as
his music
keep
as
career,
or
plishment
accom-
an
avocation?
and
Your
prompts
"
an
heart
own
your
to
me
avocation.
is not
Of
so
thousand
is,perhaps,one
before
advise music
The
asked
you
for you
artist's career
attains to
as
days
nowa-
simpleas it appears
capable musicians
who
it
to be.
there
general
"
you
much
greatersatisfaction.
PIANO
When
to
I hear
get
tlf
his
enjoyment.
ear
want
look
that
help
may
Can
You
than
playing
J
6
Get From
Can
Music
you give
littleoutline of pointsfor which to
Much
How
"
157
pianistI
concert
from
more
aesthetic
me
QUESTIONS
in
me
piano
my
study?
is
There
which
from
we
bringwith
we
As
pleasureor
no
derive
can
us
enjoyment
in the way
of
deepen your
and gain insight
music
into
work and harmonic
contrapuntal
ness.
than
more
receptivestudy of
you
its forms,
beauties
and more
pleasure
you will derive more
from listening
to a good pianist
the deeper
studies go.
What
their
your
reflectsof emotional lifeyou will
in the exact measure
of your own
upon
like
of
life. Art is
medium
grasp
connecting,
two
telegraph,
playing
perceive
and
the receiver.
message
be pitchedequallyhigh to
must
the communication
You
teacher
would
Both
make
perfect.
confer
by solvinga
favour
a
upon
problem for her that
"It is So
^fMCA
Easier
has
all
not
iji
her
11
all
her
i
iM?
life;why
puzzled
pupilspreferflats to sharps? I
at
all
sure
that I do
not, in
to
do
am
Read
Flats
Than
rps
some
PIANO
158
QUESTIONS
it
other
cause
or
music.
As
w^om
between
do
his
I knew
pupil),and
great many
was
and
Rubinstein,
consider the
vou
Rubinstein
Greater?
Liszt
have
times.
sixteen
greater?
very well (I was
heard him play a
Liszt,who
years
old
and
died when
had
not
PIANO
160
If I
As to One
deeplyinterested in Beethoven's
am
Composer musjc
QUESTIONS
can
au that there
"Exclud-
in# vlW
Others
is
in
music,
technical
both
Is
sense
aesthetic
an
one's
any
You
look upon
(exceptBeethoven) with
patronizing,
great,
your
of
that
in
its manifestation
master,
its interpretation
than
better
satisfies you
other composer,
are
you
any
good
no
rightto
instance, the profoundness
of Chopin,
aesthetic charm
complimented upon
that givesyou
But
be
taste.
contest, for
of Bach, the
the
rich
music
his
one
exhaust
to
are
you
your
many
music
all composers
attacks,you may
the
profound?
in an
trable
impeneimagine yourself
whence, safe from all
stronghold
more
to
and
Mozart's
wonders
of
and
various
can
whole
art,
nor
the
of your
temporary
conleast that
The
merits
composers.
be charged with
of
your
life
who
expressed in
finds
any
QUESTIONS
PIANO
161
is one-sidedness, not
to
composer
speak of the fact that the understanding
one
cannot
be
very
it is closed
to
for
deep
all others.
One
for true
requirements
of taste.
shipis catholicity
chief
fifty-six
years
am
"i
connoisseur-
from
111
of the
miles
sixty-five
mountains
if
master
one
and
husband,
rail-
any
i
to
me
1 have
Pleasure
do ?
all
from
Refrain
Since
work.
s"he"e
.
in
lessons
strongenough
technical
especially
your
to
love
cause
of
music
to
you
take as
is
resume
much
playingyou should
pleasurein it as possibleand work
technicallyonly in the pieces you
play that is, in those placeswhich,
your
"
offer you
difficulties. Decide
comfortable
and
first,
fingering
upon
practise
the
difficult places separatelyand
slowly until you feel that you
can
venture
play
speed.
to
them
Sensible
"f Playing
/or
thirty-five
years.
would help me
Do you think "Pischna"
former
to regain my
much
abilityto
play? If not, what would you advise
taken
not
in their appropriate
PIANO
162
Learn
pieceswould
What
First
QUESTIONS
advise
you
after Rachmaninoff's
memorize
to
me
Prelude
as
"
you
say
the
"
fault cannot
lie in
but must
be sought in
composition,
the interpretation.
Why not try a few
pieces of lesser complexity and play
that they do appealto
them
so
perfectly
the majority. Try Chopin'sNocturne,
the
2; Schumann's
opus
27, No.
opus
28, No. 2; or
of the more
some
Without
his
Romanza,
Traumerei," or
"
pretentious"Songs
by Mendelssohn.
Words"
About
am
minor
have
and
McDowell's
good health
to
grow
on
the
and
determined
am
self-satisfied. Is there
concert
stage
"
accompanist
equipped?
an
Sonatas.
"
for
even
if
woman
I
not
place
only as
a
thus
163
QUESTIONS
PIANO
must
begin by
Any public career
earning the good opinion of others.
One's
just,is
own
opinion,however
advice is that
criterion. My
a
never
of the prominent
speak to some
you
agents, whose
concert
and
names
dresses
ad-
music
that
we
before
we
aware
others
If the
you
will
is
for
do.
the
on
the
great
of
are,
of
course,
be
of
use
of
to
to
use
selves.
our-
is in you
People of
way.
That
your
is
which
right"stuff"
women
women
be
can
make
proved by
you
must
ability always
room
that
them, and
to
use
have
they
instinct for
fine
by actual
developed
connoisseurs
usuallynot
knowledge, but
are
there
concert
array
is
stage
of meritorious
for
pianists.Especially
in demand
are
accompanying women
that is,for good accompanying. But
"
I would
not
start
accompanying. It
commercial
out
seems
with
the
like
idea of
going to
school to
study be to an
assistant bookkeeper. Become
a fine,
all-round musician, a fine pianist,
and
4 '
see
' '
what
bring
PIANO
164
The
you.
is
bound
Precedes
or
Soloist
jn
disclose
to
soloist
tne
recital,
the
for
itself
and
the
on
to
you.
precede
in
stage
should
ability
your
accompanist
an
Usuallyf"M"w
level
proper
Should
Accom-
QUESTIONS
be
sex
or
concert
considered
matter
at
If
Entering
soloist
the
should
to
his
arrange
which
but
the
as
these
will,
accompanist
in
stage
soloist
of
soloist
the
perhaps,
yields
his
necessary,
salutes
it
reasons
the
order
of
height
be
the
are
women
it
the
time
accompanist
the
may
when
same
the
on
music,
For
audience.
the
man
whatever
or
during
him
precede
seat
be
be
is
the
should
woman,
feminine
look
precedence
suasion
perbetter
to
if
her.
ALPHABETICAL
OF
INDEX
QUESTIONS
PAGE
About
StartingOn
Accenting
Concert
in
of
Little
of
Advantage
Affected
Precedes
to
Play
of
Art
As
of
to
As to
As
Playing
to the
Bach's
Before
37
17
...
22
.
126
People"
121
is Immaterial
With
139
Bach
81
Soloist, The
118
V
.
With
'..'..
Feeling,The
Excluding
"
124
.
All Others
160
.
100
Necessary
and
".-.'""
Fugues
Preludes
164
...
Rubato
Bach
Music
Bach's
The
the Piano
at
Composer
Playing
Entering
at
Accompanying
one
Soloist
Staccato, The
over
in Touch
Always Keep
Art
Legato
of the Student
Age
70
Finger, The
Movements
"Afraid
Sonata
Beginner's Piano,
of the
Action
...
Accompanist Usually
Action
162
.
Mordent
Career.
Good
to
Fugues
Technique
.
80
.
82
"
83
Beethoven
Sonata
with
Pastoral
Character,
The
Beginner
Best
Best
Best
Better
84
in Bach
Music,
Physical Exercise
Way
to
Way
to
Not
The
80
....
for the
Pianist, The
131
.
Give
Up
the Child
Quick
"
Tempo,
Modified
1 17
.
The
Classics
54
.
"
148
.
165
QUESTIONS
PIANO
166
PACK
the Touch
Bitingthe Finger-Nails
Spoils
Books that Aid the Student Working Alone
FingersNot a Disadrantage
Broad-Tipped
.
C-Scale
Can
All Scales,The
for
Fingering
be Studied in America
Music
?
.
19
.
155
.
20
28
148
Cantabile
Passages
Charm of Chopin's
Touch, The
Chopin'sBarcarolle
Chopin'sWorks for a PopularConcert
"Colour" of Various Keys, The
Company that One Keeps in Music, The
CompositionMust Fit the Player,The
The
Conditions Which
Dictate Speed in Playing,
CountingOut Loud
7
86
...
88
88
.
.137
130
53
50
Conceptionand Rubato,The
"FingerStaccato" and Other
Difference Between
Difference Between
102
Kinds, The
22
Between
Difference
Major
Scales,
Minor
and
:.
The
109
.
PlayingTrills,The
rect
CorConceptionsMay be Individually
Difference in
Different
of Playing
Notes, The
Repetition
Difficulty
DisputedChopinReading,A
.
Do
not Allow
Do
not
Injurethe
Do
not
Over-Use
Do
not
Do
not
Raise Wrist
Do
Do not Use
133
Hand
too
"
34
.78
.13
44
...
High
4
.
Marking a Rest
Hands in PlayingScales
in
102
10
in
Piano Extreme
...
It
by Stretching
74
Action
"
99
.
9
.
36
QUESTIONS
PIANO
168
"Mi
Playthe
Octaves
How
Best to
How
Grace
How
Long
How
Much
How
How
How
to Get Music
How
to Hold
How
to
How
to
Notes Are
Played
Accidental Affects
an
You
Can
89
...
Note
Published
the Thumb
.61
64
.150
157
26
37
16
....
Improvethe Technique
Rubato
PlayPassagesMarked
...
"
"
100
.
How
How
39
Mazurka
Waltz, Menuet,
and
Polonaise
Differ
Ill
Importanceof StudyingWith
The
the
RightTeacher,
or
to Memorize
Playinga
An
Fingers,
?
Conservatory
Easily
.
Sonata
Sharps!"
of
Kind
The
Piano
.
Kullak's" Method
.115
8
142
75
Pitch,The
International Pitch,The
is
.....
"International "Piano
"It
140
to
Master ?
Easier to Read
136
.136
.127
Flats Than
157
......
Upon
Which
...
to
.
of Octaves "StillGood
Practise,
.
.35
34
.118
.117
107
ALPHABETICAL
INDEX
169
PAGE
Ear Guide
Let Your
Your
Pedalling
41
Wrist, The
Loose
Masters
Cannot
.9
be Studied In Order
90
.
68
Meaning and Use of "Motif," The
The
74
Meaning of Solfeggio,
.111
Meaning of "Toccata," The
115
as Readily
MemorizingQuicklyand Forgetting
57
Metronome
Markings,The
59
Metronome
MarkingsMay Better be Ignored
.
....
....
Modern
Piano
Music
92
.....
and
87
.
46
45
...
Profession
Avocation
Music
as
Music
or
as
an
.156
'
the Fingers
to Watch
Necessity
V.
Hands
Not Playingthe Two
at Once.
.'
NothingBut the Best Will Do
Number
of Lessons Depends on Progress,
The
No
Old
Problem
of
Duple
Time
OmittingOne
One
More
Lesson
Note
in
25
.
141
147
"
Chord
.
19
againstTriple,
The
Once
141
98
89
.44
Week
147
47
.150
83
26
PIANO
170
QUESTIONS
1MB
Perfect
the Result of
Rubato
pulse
Im-
Momentary
101
Personal Element
Pianist Who
Piano
58
.
ExpressHerself The
Conductor and Composer
Fails to
Studyfor
The
.123
.128
.11
96
...
"
"
112
"
151
.
35
...
62
....
38
....
79
....
77
.
49
....
76
.
72
...
orer
Note, The
71
10
48
52
...
119
.
Rapid Octaves
Real Meaning of SpeedTerms, The
Relation of Harmony to Piano Playing,
The
.146
.30
...
.33
60
...
Rests Used
under
OTer
or
Notes
Marked
Rubinstein
Liszt
Rule for
or
"Secco," A
"
Which
the Speed,A
Selecting
10,5
.
62
...
The
6
.
70
...
is the Greater ?
...
158
.
60
ALPHABETICAL
INDEX
171
PAGE
Safe
Way
Sensible
Not Related
Large Ones
Pieces for
Some
Speedand
Smoothness
.143
161
in
108
63
...
Girl of Fourteen
Try to Compose ?
13
Trilling
70
75
73
...
66
.138
33
...
151
.
with
Student
Fondness
108
42
85
....
Take
Month's
Taking Liberties
"
Tenuto"
Text-books
There
To
Staccato Notes
Time
To
EveryYear
With the Tempo
on
To
Rest
to Devote
in
to
50
.
[V
.
106
59
109
69
6
.47
.117
.116
29
....
To
69
89
Exercises
107
56
in Sight-Reading
Facility
Keep Errors from Creepingin
Playa Glissando Passage
Prevent Sore Finger-tips
After Playing
Ga
51
"
...
PlayingScales,The
Technical
...
Harmony
Are Dangersin Usinga Metronome
Is Only One Minor Scale
There
Tied
Dash
91
.
20
PIANO
172
QUESTIONS
PAGE
To
To
Produce
Produce
Softer Tone
43
....
Good
Legato
the Weak
Use
Strengthen
Finger,
Work
up a Fast Tempo
.
To
To
.23
It
18
53
....
Too
Much"
Method
"
144
Trill
72
.139
97
Universal
The
Systemof Marking Fingering,
Use of the Pedal for Colouring,
The
Use Pedal With Caution In PlayingBach
Usingthe Two Pedals at Once
27
39
...
41
43
...
Value
of dementi's
"Gradus"
Watch
To-day,The
The
Phrasing,
What
Does
Double
What
What
Scales?
Is the Matter
with
93
What
When
.137
.62
3
86
the
Major
.
Scales ? "
Method
Is
Leschetizky
the Objectof Study Should Be
to Do with an
Unemployed Hand
Accidental Is in Parentheses
and
.110
.14
.144
the
an
18
77
What
.55
....
My
153
...
What
"Technique"Mean?
Is the Best of Chopin ?
What
"
Dot Means
....
Breathing
Weak
Fingersof the Left Hand, The
Well-TemperedPiano Scale,The
What a Dot May Mean
What
98
Your
95
.
135
21
.
66
INDEX
ALPHABETICAL
173
PAGE
When
Playing
Octaves
When
Reading
Over
31
Piece
New
.51
.
When
the
Weak
Seem
Fingers
.18
.
When
the
from
Away
Keep
to
Piano
.132
.
When
for
Play
to
People
.120
When
Proves
Tremolo
Fatiguing
Unduly
11
.
When
Two
the
Have
Fingers
Note
Same
79
.
Where
Criticism
Outside
Is
Desirable
143
.
Where
the
Be
Should
Accent
Placed
78
...
Which
Most
Demand
Fingers
Attention
.16
.
Which
First
Come
Should
Conception
"
or
Technique?
Why
103
Injurious
Is
Ragtime
.134
.
Why
Why
So
the
Different
Many
Keys
Should
Pianist
Study
.106
Harmony
104
.
Why
the
So
Is
Piano
.128
Popular
.
Why
Two
for
Names
the
"Same
"Key?
67
.
Wrist
Wrist
"as
Children
"Wonder
Staccato
Stroke
at
In
Long
Pianists
High
.152
.
Tempo
Octave
.21
Passages
32
.
PIANO
176
QUESTIONS
Blumenstuck, Schumann's,
preludes,
67, 82.
fugues,67, 82, 83.
79.
23.
"Blurring,"
Body, generalpositionof
Baermann, Carl,94.
Ballade,Chopin's,in A flat,
the, 4.
Books, of Etudes, 93,
162.
94.
sic,"
Baltzell,"History of Muby, 150.
Barcarolle,Chopin's,88.
Beethoven, the sonatas of,
83,85.
alone, 155.
Brahms,
Breathing,55.
Broad-tipped fingers,20.
Bulow,
Beethoven's Sonatina,opus
49, 59.
Fifth Symphony, 69.
Sonata Pathetique,
70.
162.
17.
106.
Biissler,
"MoonlightSonata," 76.
C flat,
67.
C sharp,key of,67.
C
sharp major, Bach's
sonatas, 83.
of studying,
atas,
son-
order
fugue in,83.
sharp minor movement,
83.
the,58.
Sonata, opus
28, 84.
Cantabile passages,
85.
style,
firstand
piano,37.
"Zephyr," 53.
Berceuse, Cnopin's, opus
morningis
the, time
to work
up
to
quick
tempo,54.
the, of Chopin,
8.6.
of instruction
for a beginner,
93.
"
"*
'
the
131.
pianist,
nothingbut the,will do,
Bitingthe
Life of,86.
the best of 86.
Etude by, 94.
Etudes in C minor, 95.
the, book
141.
disputed,
reading,78.
,
taves,
oc-
practise,46.
is
de
74.
29.
what
"Air
Ballet,"No. 1, 70.
Chopin,Polonaise,opus 53,
57,86.
way
by,
111.
Chaminade's
Bendel's
7.
Cantata, 112.
Chaminade, Toccata
finder-nails,
19.
Nocturne
in F sharp,78.
Impromptu in A flat,
opus 29, 78, 87.
charm of,touch, 86.
Chants Polonais,
88.
FantasyImpromptu, 88,
97.
Barcarolle,88.
Nocturne, opus
2, 88, 162.
27, No.
INDEX
Chopin'sworks for
ular
pop-
concert, 88.
Ballade in A flat,162.
rolled, marked
Chord,
"secco,"70.
in the Waltz
in E
Chords, play,with
28.
fingering,
Counterpoint,studying,by
one
self,107.
Counting, 50.
minor,
a
loose
Chromatic,
the,scale 28.
35.
thirds,
accidental,signs,66, 67.
Classics,"modified," 148.
dementi, 81.
"Gradus
and
Parnassum," 95.
Sonatina, opus 37, 96.
"Colour," of various keys,
little
girl,146.
Criticism,where outside,is
desirable,143.
Curved
11.
dementi's
C-scale
89.
arm,
177
fingers,
6, 7.
Czerny,45, 81.
D
flat,
key of,67.
of
arrangement
Bach's
Fugues, 83.
Damper pedal,the,43.
Dance, music,
134.
Dangers in using a
137.
nome,
metro-
59.
160.
its
Composers,
greatest,
91.
as
pianists,
sequel,73.
102.
Different,
conceptions,
rhythms,97.
Composition,108, ISO.
tween,
Conception,difference be-
Difference,between
as
to one,
the
and
rubato,
102.
102.
popular,88.
etudes, 94.
work, 156.
to, 158.
Conservatory, individual
teacher or, 142.
Conductor, piano-study
for,
128.
ing,
practiceof phras98.
Counterpoint,
studying,
107, 142.
Cramer
rubato, 102.
between
of playingrepeDifficulty
tition
Correct
in playingtrills,
74.
between conceptionand
scales,109.
162.
career,
staccato"
"finger
and
Conceptions, different,
for
keys,105.
Etudes,the,17,45.
notes, 34.
pin's
Doppio movement, in ChoNocturne
in F
sharp,78.
Dot, double, 62.
what
Double
a, may
mean,
notes, 35.
thirds,35.
dot,62.
flat,
64, 65.
65.
flats,
65.
sharp,
77.
QUESTIONS
PIANO
178
piano,playingon
Dumb
38.
98.
Chopin's Nocturne
E minor, Waltz
E
Fantastic
sharp,64.
guide
your
41.
pedalling,
Easiest way
in,
78.
in,89.
to
memorize,
113.
of Chopin,
Edition,Peters's,
79.
Edition, Steingraber, of
Beethoven, 84.
Education,generalmusical,
technique,16.
the little,
17.
the weak, 18.
and the
Element, personal,
touch, 19.
58.
staccato, 22.
27.
"English" fingering,
Liszt
Erlking,
arrangement
exercises,93.
Fingering,English.27.
of the,32.
universal,27.
American, 27.
for advanced
Bee*
Symphony,
thoven's,69.
Finger,the middle, 16.
141.
metronome,
33.
arms,
94.
players,
the chromatic
Finger-nails,
bitingthe, 19.
6.
of
position
Fingers,
,
the other,16.
16.
fourth and fifth,
weak,
18.
20.
broad-tipped,
needed to play
94.
expression,
Example,force of,104.
131.
Exercise,best physical,
Exercises, stretching,12,
13.
dent,
mor-
28.
concert, 94.
by Baermann, 94.
of Chopin, 95.
by Kessler,95.
by Berens,95, 143.
by Heller, 143.
155.
Steinberg's,
scale,28.
C-scale,28.
high, 7, 23,
Finger-stroke,
24.
Finger-tips,
sore, 20.
"wiping" the keys with
the,35.
Firm
legatotouch, 24.
Flat,double, 65.
Flats,double, 65.
Fugue, definition of
Fugues, Bach's,82.
a,
82.
47.
technical,
for the
beginner,93.
93.
good finger,
F
major,key of,
F, Melodyin, 79.
G
G
flat,
key of,67.
minor,
INDEX
179
Key,
Gavotte in A, the,44.
3.
General, technique,
the
rule about
two
67.
same,
pedal,89.
education, 141.
Glissando,the, 29.
Keys, why
so
play a,
passage,
29.
Gluck-Brahms,
Godowsky,
transcriptions
23.
by,
44.
Godowsky's pupils,149.
Going to concerts, value of,
"colour"
dementi's, 95.
Grieg Concerto, the, 35.
of
various,187.
Kuhlau
Sonatinas, 75.
Kullak's, Octave
School,
31.
"Method
of Octaves,"84.
153.
ferent,
dif-
many
105.
musical
to
for the
names
at
accompany
sight,
117.
the art of
accompanying,
118.
Legato,22,
28.
Halvey,136.
Hand, position
of,6.
the,
stretching 12.
small,13.
unemployed,the,21.
genuine
Hands,
144.
piano, 130.
two
at once,
25.
playingwith cold,49.
progress, 147.
frequent, and
41.
Harmonic, clarity,
Hadyn,
on,
the
right
teacher,140.
A
action of the,
finger,
17.
Loud
50.
counting,
Chopin's,in
78.
flat,
Chopin'sFantasy, opus
66, 88,
the
Polonais,88.
150.
Little
Importance of
of
of Chants
transcription
94.
"History of Music,"
Impromptu,
by,
Chopin,"the,86.
"Limping," 25.
75.
154,
Box"
92.
"Life of
106.
Liadow, "Music
ing,
piano-play-
105.
textbooks
shorter,
147.
turns, 105.
97.
Instrument,the,85.
Intermediate,good, books
of etudes,94.
International piano pitch,
136.
136.
International pitch,
MacDowell,
Sonatas, 162.
Marking
Marks
and
rest, in,99.
Nomenclature,
57.
Mason's
"
Touch
155.
nique,
and Tech-
PIANO
180
be studied
Master's cannot
in
QUESTIONS
order,90.
Mazurka, 111.
86.
Mazurkas, Chopin's,
Melody in F, the,79.
Memorize, easiest way to,
113.
148.
playing from,
how
to
get, published,
150.
the, 112.
Mendelssohn, the studyof,
85.
"Spring
Mendelssohn's
as
156.
profession,
how
much
you
from, 157.
"Music
Box," the
Music
Song," 77.
Menuet, 111.
get
can
92.
schools and
private
teachers,141.
much, 144.
too
Nocturne, Chopin's,in F
144.
Leschetizky,
Methods, teachers,lessons
and, 140.
Metronome, markings,57,
59.
and the,
element
personal
sharp,78.
27, No. 2, 88,
opus
162.
Nocturnes, Chopin's,86.
Nomenclature, marks and,
57.
72.
Note, auxiliary,
58.
in usinga,
dangers
when
59.
Meyerbeer,136.
Miscellaneous
questions,
150.
Glassies,"148.
Modulate, learning
to, 107.
Mood
and tempo in the A
flat Impromptu, 87.
needed
Mordent, fingers
play a, 28.
accentinga, in
to
sonata,
70.
Morning practiceon
piano,45.
the
"Motoperpetuo,"112.
Notes
79.
34.
repetition,
double, 35.
slurred,62.
tied staccato, 69.
small, under large ones,
70.
71.
syncopated,
Objectof study,135.
Octave, chords, 11.
Kullak's,School,31.
in extended, playing,32.
32.
passages,
29.
Octaves,
rapid,30.
playing,31.
when
wrist,31,
arm,
32.
31.
stiffwrists in
33.
playing,
91.
Operatictranscriptions,
of studying BeeOrder
thoven's
have the
fingers
two
same,
"Modified
one
be studied in America,
can,
112.
Method,
that
company
115.
in order to, easily*
Memory,
piano,92.
bad, 133.
Other
Sonatas,
the,16.
fingers,
83.
INDEX
181
Pitch and kindred matters,
Organ, touch,26.
playing,26.
136.
international
Pachulski,92.
Pedal, a generalrule about
the,39.
how to use the,39.
of the,for colouring,
use
with caution in
Bach,
41.
161.
Playingfor pleasure,
Polonaise, Chopin,
77.
86.
Polonaises,Chopin's,
Polyrythms,96.
Popular concert, Chopin's
works
Pedalling, let
guideyour,
Pedals,
the, 39.
using
ear
your
41.
43.
.
er's,
"Perpetuum Mobile," Web112.
practiceof, 98.
best,for
Physicalexercise,
as,
of the fingers,
6, 8.
of the wrist, 10.
of the thumb, 16.
of the turn over a note,71.
of auxiliarynote
in a
72.
trill,
Practice,morning, on
91.
as,
152.
of
of
98.
phrasing,
108.
constructing,
kind
of
Practise,
a
piano
to, 93.
hours
Practising,eight
5.
touch, 26.
kind of, upon
which
to
35.
practise,
in
extreme
action of
playingon
affected
dumb,
38.
movements
at
Playing,"35.
exercises
Precision,25.
Prelude, the B flat minor,
95.
the,126.
about the, per se, 127.
genuine, hand, 130.
when to keep away
from
the, 132.
"Pischna,"
action,36.
37.
beginner's,
a
the
piano,45.
the only kind of, worth
while, 47.
"wonder-children"
Pianissimo
fora, 88.
131.
pianist,
93,
opus
53, 74.
45.
'Piano
piano,136.
people,when to,
120.
ing
play-
the
for
39.
use,
Play
in C sharpminor, 162
Preludes,Bach's, 82.
86.
Chopin's,
Private teachers,141.
Profession,music
Rachmaninoff's
of,
161.
Pitch,international,
136.
as
a, 156.
Prelude
in
134.
PIANO
182
QUESTIONS
Repetition,technique,84.
notes, 34.
Rests used under
of,62.
Slurs,63.
over
or
Smith's
notes, 62.
Rhapsody,Brahms's, in G
minor,
Rhythm,
Octave
playing
Studies,
143.
Solfeggio,
meaning of,74.
162.
relate to
accents
62.
Soloist,118, 164.
Sonata, accentinga
dent
mor-
ception
con-
and, 102.
Rubinstein,
158.
Rubinstein's
"
in a, 70.
in playinga, 75.
Moonlight,76.
Beethoven, with
toral
pas-
character,84.
meaning of, 112.
Sonatina, Beethoven's,59.
Sonatas of Beethoven,the,
83,85.
Melody
in
F," 79.
Russian
"
Speed,gradualincrease of,
54.
atic,
the chromScale,fingering
28.
minor,
only one
the
109.
piano,
well-tempered
59.
meaning
of,terms, 60.
selecting the,
rule
for
60.
and
137.
Scale
average,
smoothness
in, 16.
playing,
73.
at
high
22.
finger,
arm,
22.
the,66.
Staffs,
88.
Schubert-Liszt's"Auf
Wasser
dem
about, on
Starting,
singern,"
zu
career,
Schumann's
"Blumen-
stuck,"79.
Romanza, opus
Beethoven's
of
Sonatas,
84.
28, No.
2, 162.
Steinberg'sEtudes,
66,
"Traumerei," 162.
"Secco," a rolled chord
marked, 70.
Hans, 94.
Seeling,
Sex of the teacher,143.
117.
Sight-reading,
a
cert
con-
162.
Steingraber Edition
53.
Slur,how
in trilling,
tie and a,
differ,
opus
155.
Stretching,
12, 13.
Student,age of,immaterial,
139.
ing
books that aid the,work-
alone,155.
Students, piano, 108.
93.
Studies,Heller's,
Study, objectof, 135.