Music LIB. MT 224 W36 IDWA C / , ANDERSON Music Co, 1O18 LASALLE AVE. MINNEAPOLIS, - MINi>iSOTA EARS, BRAIN AND FINGERS EARS, BRAIN AND FINGERS A TEXT BOOK FOR PIANO TEACHERS AND PUPILS BY HOWARD WELLS BOSTON OLIVER DITSON COMPANY NEW YORK CHICAGO CHAS. H. DITSON & Co. LYON & HEALY Copyright, MCMXIV BY OLIVER DITSON COMPANY International Copyright Secured Muirfa Library MT DEDICATED TO MY WIFE PREFACE The writer wishes to make grateful acknowledgment to Prof. Theodore Leschetizky for many of the ideas and exercises used in this book. He makes no claim that it is a "Leschetizky Method" feeling as he does that the so-called "Leschetizky Method," cannot be embodied in any book, because it is Leschetizky himself. This volume will serve its purpose, if it helps the teacher and pupil to realize that in musical develop- ment, it is earnestness of purpose, united with concen- trated, intelligent listening, which makes every effort count. Without the trained mind, and the finely cultivated musical hearing, the fingers can become merely auto- mata, incapable of conveying either thought or feeling. HOWARD WELLS \, BERLIN, GERMANY, June, 1914. CONTENTS CHAPTER PAGE I INTRODUCTORY i II How TO GIVE AND TAKE A PIANO LESSON . . 6 III THE FIRST PIANO LESSON 9 IV HEARING SINGLE TONES; 2/4 TIME; ROCKING WRIST EXERCISE 14 V HEARING 3/4 AND 4/4 TIME; BEGINNING MEMORIZING; FINGER ACTION 17 VI HEARING MELODIES; EIGHTH NOTES; QUICK FINGER STROKE; FINGER WORK IN CLOSE POSITION . 23 VII HEARING MELODIES WITH UPBEAT; RESTS; FINGER WORK IN FREE POSITION . . . . .29 VIII HEARING DOTTED NOTES; BASS CLEF; FINGER WORK IN FREE POSITION WITH INCREASED SPEED . 32 LX HEARING 6/8 TIME; HEARING TONIC, DOMINANT AND SUB-DOMINANT TRIADS; WRIST WORK . -37 X HEARING TRIPLETS, SIXTEENTHS AND THIRTY-SECONDS; PREPARATORY WORK FOR SCALES . . .41 XI HEARING INVERSIONS OF TONIC, DOMINANT, AND SUB- DOMINANT TRIADS; EXERCISES FOR CONCENTRA- TION; THE CLOSE TOUCH . . . . .46 XII HEARING Two VOICES; SCALES . . . .51 XIII HEARING TONIC, DOMINANT AND SUB-DOMINANT TRIADS IN COMBINATION; ARPEGGIOS . . . -55 XIV HEARING COMPLETE CADENCES; OCTAVES . . .60 XV HEARING CADENCES IN COMPOSITIONS; POLYPHONIC WORK; VELOCITY 64 XVI HEARING CADENCES (Continued); CHORD PLAYING 71 XVII HEARING OF PHRASING, DYNAMICS AND PEDALING; MEMORIZING 82 XVIII SOME USEFUL HINTS 95 EARS, BRAIN AND FINGERS CHAPTER I. INTRODUCTORY (To be read before making use of the book.) Why is it that out of the immense number of persons who study music, so few accomplish anything really worth while? Is it because of lack of ability or application? Or is it due to the fact that our methods of training lack the system which we have in other branches of education? Can we not trace the difficulty to the almost universal lack of SYSTEMATIC training of the ear, to the failure to develop the powers of concentration, and to the neglect to establish the technical work upon the correct basis'? The best training is that which makes the pupil capable of self-develop- ment. If the pupil has been taught to listen to music intelli- gently, he has within himself a constant source of instruction and improvement, which enables him to learn from listening to others, and which gives him the ability to hear himself. This ability to hear one's self cannot be attained suddenly. On the contrary, it is to be achieved only by systematic training. From the Very First Lesson, this should be the main point in the mind of both teacher and pupil. Even those pupils who are fortunate enough to have a good ear naturally, require special training in order to know how to use their sense of hearing, and to develop the concentration of mind which is necessary to make it valuable to them. Lack of progress and lack of interest on the part of a pupil in his musical study, is often due to a neglect of this important part of the work. The pupil cannot be expected to improve rapidly when he is incapable of hearing what he is doing, or what he is 1 2 EARS, BRAIN AND FINGERS trying to do. Music is Sound and cannot be successfully taught by the use of the eyes and fingers alone. Good teachers are realiz- ing this, and are devoting more attention to ear training, but unfortunately it is often brought in too late to be of practical benefit. The training of the ear should begin with the learning of the notes, and be continued in each lesson and in each day's practice. Some teachers try to cultivate their pupils' musical hearing by playing for them in the lesson, but the lesson time is too limited, and the average pupil has not sufficient keenness of hearing to get any- thing definite from it. When the teacher does play for his pupils, he should be absolutely sure that they know exactly what he is illustrating, and that their attention is riveted on it. He can test their attentiveness by playing a passage in several ways, and having the pupils make comparisons. Many pupils think they are paying sufficient attention to the cultivation of their hearing, by trying to hear a few chords when they study Harmony, but this effort comes too late to be made the integral part of their musical equipment which it should have been. Some pupils achieve a fine sense of hearing, and the power of concentration, by long continued study and practice, and by going to concerts, but it takes too much time to learn to listen in this way, especially if the pupils live where concerts are not fre- quent. Then, too, it is at the beginning of their study that pupils need the use of their hearing. The great majority of pupils how- ever, never acquire this ability to listen, but either remain hope- lessly mediocre, or drop out of musical work. Why is it that this condition is not recognized? Because most persons are absolutely satisfied with their powers as listeners. Yet, if one tests the hearing of even advanced students, he is generally astonished to find out that they have heard almost nothing of value. One reason why training of the ear is so imperative, is that the interpretation of a composition cannot stand before one like a picture or any other work of art which may be enjoyed at leisure. It must be studied while it is passing with lightning EARS, BRAIN AND FINGERS 3 rapidity. Hence the minds of the listeners must be prepared to grasp the impression quickly. The act of listening to music is in itself more conducive to mind wandering than to concentrated attention, as music so often creates a mood which distracts the attention. // ear training work is made a part of a student's routine, it develops concentration, and the faculty of self criticism, as well as the ability to gain something definite from the hearing of good music. Too much cannot be said about the value of concentration, especially in musical work. Who does not know the type of pupil who sits at the piano four or five hours daily, his thoughts taken up with various things, and with nothing more definite in his mind than the general aim to learn to play? In the technical work, it is of great importance to establish the right muscular conditions at the very start, when the pupil is at an age when such work is most easily done. The lack of self-con- sciousness in a young pupil is of the greatest advantage to him. He creates no difficulties for himself by his mental attitude, and, as his hand is in the natural state, it can be easily formed to meet the requirements of the piano. A child can accomplish in a few minutes twice as much as an older pupil would in the same length of time. (Reference is made of course to technical work within a child's grasp.) Arpeggios, octaves, etc., must be left until his hand has grown to them. In a child's school work, he is not permitted to mislearn and icrongly practise the first principles of grammar and arithmetic with the idea of doing them correctly later, yet this is too often done in the musical training. Why should he not be required to do the simple technical work of piano playing accurately, and, in this way, save time for himself later on? The common error of thinking that accuracy in music is fatal to musical expression should be discouraged. That such an idea is prevalent at all, is largely due to the over-accurate, pedantic and unmusical playing of those who go to the extreme of "method." We have instances of performers whose playing suffers from this. Such players are not musical by nature, and have accomplished their results by the hardest work. They have in general, 4 EARS, BRAIN AND FINGERS more thought for the technic of the art than for the art itself. When a student is under systematic training, there comes a time when he is too conscious of the process by which he expresses himself, and is disturbed by it. This is only a stage in his develop- ment through which he must pass. Unfortunately, many persons who have arrived at this stage play in public, and increase the false impression that systematic training makes the playing mechanical. When the pianist has gotten beyond this point, however, he is on solid ground where he is able to think for himself, and develop to the extent of his mental and musical capacity. There is quite as much to be said against the other extreme of allow- ing too much freedom, which establishes habits of musical and technical slovenliness and which leads to a lack of artistic balance. Playing the piano is not a natural process. No one can claim that the hand was originally built for that purpose. Students are often misled by the statement that it is not nec- essary for them to go through a thorough course of technical training. They do not always realize that their own relation- ship to musical work is on an entirely different plane than that of the mature artist. // one observes the careers of great artists, it will be seen that they have gone at some time through a definite schooling, and then gotten away from the consciousness of it. T HE Y even often forget that this schooling was necessary to give balance and artistic judgment to their later development. It is not expected that the technical work outlined in this book should be given to the exclusion of all musical work. A few simple exercises such as given here, are necessary for the estab- lishment of the principle of relaxation, and the development oi the hand pianistically. They should be given until the principles can be successfully applied to playing compositions. When these elementary principles are once established, the development of the conditions sought for is a question of Growth and Time. It cannot be forced. The devotion of one's energies exclusively to technical work tor any great length of time should not be necessary, and is not advised. It requires patience until the right conditions are established. From four to eight lessons EARS, BRAIN AND FINGERS 5 should suffice to bring finger action, and the tone placement. The continuation of the technical practice from this time is simply to clinch these points until they have become second nature. NOTE. Teachers will find that the amount of material given in each of these chapters is much more than can be taken up in one lesson. But it is found simpler to arrange the book in this way. Some of the work, particularly the ear train- ing, can be done in classes outside of the regular lessons. The ear training exercises, as outlined here, are just as useful for voice and violin students as for pianists. In some respects such work is even more necessary for them, as the produc- tion of their tone, both as to pitch and quality, depends directly upon their ear. CHAPTER II. How TO GIVE AND TAKE A PIANO LESSON The various books that have been written to help teachers and pupils deal with the best ways of giving lessons, and offer useful hints regarding practising, but none give any advice to the pupil as to the way he should take a lesson. One requisite at a lesson is undoubtedly concentrated attention. The absent-minded, dreamy pupil who only half hears what the teacher is saying, and lets the hints and corrections go in at one ear, and out at the other, is well-known in every studio. If the teacher questions such a pupil regarding his understand- ing of some explanation that he has been making to him, he finds either that no impression has been made on the pupil's mind, or that the idea conveyed was so vague and confused that it is worthless. Mental alertness, and the desire both to understand and retain an explanation must be as strong in the pupil, as the determination on the part of the teacher to make his explanations adequate. The pupil should be certain at the end of each lesson that he has a definite idea of the weak points and mistakes that were mentioned to him, as well as an understanding of the best way to correct them. He should have the determination to arrange his daily practice program in such a way that a certain amount of time is devoted every day to the correcting of these mistakes, and the building up of his weak points. In this way the teacher will not be obliged to make the same criticism in several lessons. There can be no vagueness in the understanding or plan of work if there is to be anything definite in the results achieved. The pupil who shows a determination to concentrate his mind entirely on the lesson while he is taking it is in the minority. 6 EARS, BRAIN AND FINGERS 7 The introduction of outside matters for discussion and conversa- tion is by no means unusual, and when a pupil changes teachers, it is generally the case that he devotes much of the time of his first lessons with the new teacher to narrating how his former teacher wanted this or that done. On the other hand, some pupils are so fearful of the lesson time being wasted that they look upon an explanation as an interrup- tion. Their idea of a lesson is to keep the piano "going" all the time. The natural result of this attitude on the part of the pupil is that the teacher feels he must limit himself to only what actually must be said, and what he has to offer the pupil cannot be given freely and spontaneously. Of equal importance with the concentrated attention at the lesson, is the teachable spirit of the pupil. A teachable spirit is not easy to define. It might be said to be a willingness on the part of the pupil to accept what the teacher has to give him. No good teacher wishes to have a pupil follow him blindly, without using his own intelligence. No broad-minded teacher de- sires to impress a pupil with the idea that his is the only method, but, when the mentality of the pupil is being used to argue with the teacher, then much of the lesson time must be devoted to convincing and persuading the pupil, instead of giving him the instruction which he is supposed to be seeking. Such pupils are generally unconscious of this spirit, as it is an inherent characteristic, but naturally there can be no co-operation between the teacher and pupil in such a case There is a class of so called "advanced pupils" who like to go from teacher to teacher "getting ideas," as they express it. They almost invariably speak of their studying as "coaching," and generally desire to plan their own work. Lessons in such instances are always a farce. No teacher can do anything worth while for a pupil of this type. The higher the ideals of the teacher, the more difficult does he find it to sympathize with the view point of such a pupil. In direct contrast, is the pupil who is over zealous in his desire to follow his teacher, and so distrustful of himself that he will not 8 EARS. BRAIN AND FINGERS venture to do anything without the minutest directions. This over doing of docility hampers both pupil and teacher. Such a pupil will always play like a "careful student," and, no matter what his age may be, will be spoken of as a "young pianist." Then there is the "discouraged one" who must always be braced up. His motto is "I can never learn to do that." With a pupil of this temperament the teacher has to spend a great deal of the lesson time in the cheering up process. This pupil is a heavy burden even for the most hopeful teacher to carry. Each studio has a "sensitive plant," a pupil who must be criticized very carefully. He often announces "You are the teacher, I am the pupil," "You need not be afraid to tell me ex- actly what you think, that is what I come to your studio for." But alas for the teacher who takes him at his word ! This pupil is the very one who is not willing to stand anything but the most guarded criticism. The "silent pupil" is another type. His attitude acts as a damper on a teacher's zeal. When the teacher seeks for some indication of being understood by a pupil of this character, he is met by the most discouraging unresponsiveness. Just as a pupil must be encouraged in order to keep up his interest, so must a teacher meet with some encouragement in order to be able to put forth his best efforts. The artist before an audience is not more sensitive to their atti- tude toward himself than the teacher with his pupils. It is only when he feels that they are "with him," understanding and sym- pathizing with his efforts that he can give them his very best work. CHAPTER III. THE FIRST PIANO LESSON The first step is to learn middle C. While the teacher is sounding the note, the pupil should listen with closed eyes. The tone should be sounded several times to impress it on his mind. He should also sing or hum the tone. The teacher should then play a few chords to ascertain if the tone has made an impression on his mind which cannot be erased. Then he should sound different tones in the neighborhood of C, coming back occasionally to C, which the pupil should call by name every time he recognizes it. The pupil can practise trying to learn to recognize this tone at home by standing with his back to the piano in such a way that he does not know just what part of the keyboard he is near, then he should reach back, and sound tones until he thinks he has found C. (If the pupil has some one at home to sound the tones for him, it is better.) This ear training practice should always precede the other work, for the reason that {t is easier to force close attention when the mind is fresh.} He should practise trying to recognize the tone at least ten minutes daily. It will do wonders for his powers of concentra- tion. This development of his concentration will be worth more to him than the ability to recognize the toney The pupil should be able to recognize a quarter, half, or whole note by sound. The teacher sets the metronome at 50, tells the pupil that a tick represents the length of a quarter note; two ticks, a half note; and four ticks, a whole note. After the pupil has listened to the metronome ticking a few measures, the metronome should be stopped, and he should imi- tate the ticks by tapping a pencil on the table. This serves to 10 EARS, BRAIN AND FINGERS fix the length cf the quarter note in his mind. Then sound middle C for him as follows: 14 JJJJ |J J Hit JJJ ( jjjjj j He should be able to tell exactly what is the length of the notes sounded, especially as they were presented to him in the simplest possible way (without any variation of pitch to distract his attention). Then show him how to write the notes, and how to indicate the length of them. In this way, he is taught to recognize the real object, that is, the length of the note, before he is shown the picture of it on paper. (Later on, when the sense of rhythm has been more developed, the pitch of the notes may be varied in the rhythm exercises but at first it is better to have the mind concentrated on the one tone.) A pupil who has been taught the length of notes in this way, will find "keeping time" much easier. (See foot-note.) If the pupil does not know the notes, he should be taught them first on the keyboard, and then on paper. Have him make the staff himself, then start him out to trace the location of the notes on the five lines and four spaces, giving him onlyJ^ (on the first line) to figure from. This will take longer than to give them in the usual way, but a child is always more in- terested in something which he has found for himself, and remembers it better. If he can figure out on the staff the location of middle C, (which he has commenced to learn by sound), he should be encouraged to do so. Pupils often perceive that there is no place on the staff for any note lower than D, and suggest the necessity of add- ing an extra line for it. If found in this way, the name of the note on the added line will never be forgotten. NOTE. It is impossible to map out the exact amount of work in ear training which can be given in one lesson. For a beginner, the amount indicated will be quite enough, but it might not be enough for the more advanced pupil, who should go on with the work given in subsequent lessons. EARS, BRAIN AND FINGERS 11 For practice in reading notes, the teacher should make a line of notes like this: telling him it is a Musical Roll Call and that he must practise it at home until he can call all the names easily and quickly. He should have a line for each day's practice, giving only these notes, but in a different order. To give the "roll call" he should go through it in the following way, "First line, E" then he sounds the note as if it answered to its name. "Second space, A," then sounds the note, etc. His mentioning the location of the note on the staff first, makes him observe it more carefully. TECHNICAL WORK. (THE HAND POSITION) The pupil should be seated far enough from the piano to give his arms freedom of motion. The height of the seat should be determined by the length of the upper arm. The elbow should be on a level with the keyboard. The wrist, a little below the level. See Cut I. The details regarding the hand position should be carefully explained un- til understood by the pupil. The wrist is held slight- ly lower than the hand in the elementary work, the knuckles slightly raised, particularly those of the weaker ringers, which should be up as nearly in Cut i. a line with the others as the formation of the hand allows. In this way the fourth and fifth fingers have an equal chance of action from the knuckle with the stronger fingers. 12 EARS, BRAIN AND FINGERS Each finger, with the exception of the thumb, rests on its cushion. This is the position taken for the technical develop- ment of the hand. (The strength of the finger tip can be developed only when the finger is held curved. Later on the hand position is adapted to the needs of the passage to be played.) The arch between the thumb and hand is insisted upon to give the thumb room enough to pass under the hand freely, as is necessary in scales and arpeggios. The teacher should illustrate this careful explanation with his own hand, and the pupil should show whether he comprehends it by trying to put his hand in the same position. It is better for him to rest his arm on the table when he first takes the position. Remarks on hand position. The knuckles are slightly elevated in order to give solidity and firmness to the hand, and to enable the fingers to move more freely from the knuckles, thus preparing the way for the finger action which comes later. The thumb is held out and curved to give it more freedom of movement on the outside of the hand. The fingers are curved in order to concentrate the finger action at the knuckles, to develop firmness and sensitiveness in the finger tips, and surety and clearness in the finger work. This hand position is for the purpose of developing the hand for the piano, and should not be understood as a set position to be used in playing. After this position can be taken easily and quickly, the arm should be taken away from the table, and the position taken with the fingers resting on the edge of the table, and the arm loose and relaxed from the shoulder. The wrist should be a little below the level of the hand, as this will ensure better finger action from the knuckles. Swing the arm at the side, noticing the sensation of a loose arm so that the condition may be retained when the hand is placed on the edge of the table. The assuming of any new position has a tendency to cause stiffness. Consequently it is necessary to relax the arm many times and to take the hand position until one feels at home in it. EARS, BRAIN AND FINGERS 13 Relaxation is the absence of effort, and this position must become so natural that there is no effort to assume and retain it. Every teacher tells his pupils that the wrist should be loose, but how can the pupil be expected to have a loose wrist when he has no idea how a loose wrist feels when the hand is in playing position? And does not know how to get one? FIRST TECHNICAL EXERCISE FOR THE PIANO The pupil should put his hand in position, then swing his arm at his side, and put the hand up in position again. This will take away any cramped feeling of the hand and arm, and give the relaxation necessary before another difficulty is presented. No beauty of tone or freedom of execution can be brought about with the arm and wrist stiff. The time to begin relaxing them is when the hands are first placed in playing position. That is the time when the tension begins. This exercise should be practised until the hand assumes the position without effort. An older pupil can go on immediately with the wrist exercise of the next lesson. To make the points of a lesson as definite as possible, a synopsis like the following should be in the mind of both teacher and pupil: OBJECT OF THE LESSON I. Learn middle C. II. Learn to recognize the length of whole, half, and quarter notes by sound, and also to write them. (This must be practised either with the teacher, or with some one at home.) III. Learn what the correct position of the hand and arm is, and be able to explain the reasons for this position. IV. Learn to take the hand position easily with each hand. V. Learn the line of notes written out. CHAPTER IV. If middle C cannot yet be recognized, work on it as before. If there is difficulty in recognizing middle C, impress C on the mind by comparing it with the sound of B and D on either side of it. Sometimes several lessons have to be given to this. If C can be recognized several times in succession, learn D in the same way. After D has been learned, E may also be given (provided C and D can be quickly recognized.) Usually it takes several lessons to do this. In learning D and E, be able to hear that D is a second above C, and E is a third above. Voice pupils should sing the tones, and violin pupils produce them on the violin. In fact, all pupils should practise singing them if possible. In the rhythmical ear training work, the next step is to learn to hear 2/4 time: II J J i J j | j j | j j i (It is better to begin with this than with 4/4 because the sec- ondary accent of 4/4 time is difficult to hear.) The pupil hears eight quarter notes sounded on the piano, with strong accents on the first, third, fifth and seventh. He is told that these accents divide the eight quarter notes into four measures of two quarter notes each. If the pupil is a beginner, he should be shown on music paper how the measures which he heard, caused by the accents, are indi- cated by the bar lines, and that the 2/4 placed at the beginning, indicates that each measure contains two quarter notes, or their equivalent. He is then asked to write some measures made up of both quarter and half notes, in order that he may understand that a half note is the equivalent of two quarters. In this way 14 EARS, BRAIN AND FINGERS 15 he learns to hear accents and the pulse of rhythm from the first. The mere COUNTING the time, which is so often relied upon, is of no value unless the beat is heard and felt. The counting is uneven unless this is done. In the Roll Call work, the tones may now be sounded by the pupil without his naming the position of them. Some new notes on the treble clef may be added. The hand position exercise with the swinging arm should be reviewed. If the pupil can take the hand position easily, and keep the arm relaxed, the next step may be taken. Right here it might be stated that half the difficulties that the beginner is heir to, come from the adding of a new technical require- ment before the previous one was mastered. The next exercise we shall call the "rocking wrist." Have the hand in the position just learned, the finger tips resting on the edge of the table, then move the wrist slowly downward and upward, taking care to keep the knuckles from sinking down when the wrist is lowered, and that the hand re- mains in the same relative position as before. See Cut II. The fourth and fifth knuckles should be on a level with others, even if the fifth finger has to be held straight at first. Alter the wrist has been lowered, it should come back to its original posi- tion, no higher. There should be no tension. The hand should rest lightly on the table, (that means Cut n. that there should be no digging in with the finger tips.) The arm should hang loosely from the shoulder. In order to keep the arm relaxed, swing it frequently at the side. This is nothing more than a natural condition. The principle involved is the same as in tennis or 16 EARS, BRAIN AND FINGERS golf, for example. If one observes a good player of either of these games, he notices that his skill depends largely on the freedom of movement of the arm in the shoulder. And when one plays the games himself, he realizes it more than ever ! This exercise when well done, separates the hand from the arm (so to speak) by means of the absolutely light wrist. It is very important, as the succeeding exercises depend upon it. It should be practised only a few minutes at a time, and should be done alternately with the left and right hands, in order that they may not become tired and cramped. As a rule, this exercise is more difficult to do correctly, than any other, because it has two conflicting purposes. One is to maintain the natural relaxation of the wrist and arm, while the other is to have the hand assume the unnatural position made necessary by the piano. Until the position has become natural the exercise should be a part of the daily practice. As the finger tips receive the greater part of the weight of the arm, they acquire a firm feeling which might be described as a feeling of suction where they come in contact with the key?. This point of firm fingers is one which is not always understood. The fingers should not be HELD FIRM, nor should there be any tension in the hand. On the contrary, the hand rests on the keys, and the fingers A RE firm. This firmness of the fingers cannot be forced, but must be gradually brought about by the muscular de- velopment which is the result of the daily technical practice. This point is so important, that particular stress is laid upon it at the very beginning. OBJECT OF THE LESSON I. Review hearing middle C, and possibly learn one or two more tones. II. Learn by sound and by sight what 2/4 time is. III. Begin to practise the "rocking wrist" exercise on a table, and at the piano. CHAPTER V. During this lesson the pupil should become sure of recognizing middle C. In case he has also been able to learn D and E, he should then go on with F and G, also learning to recognize by sound the interval of a 4th and 5th, measuring from middle C. Probably there will not be time in this lesson, to practise hearing the intervals of 2nds and 3rds measuring from D and E, but this should be done later. For the present these intervals are to be learned by playing the notes one after the other. (It is impossible to prescribe the amount of ear training that can be given in one lesson, as this depends so much on the pupil. After these tones have been learned, the pupil can generally recognize the other tones, including sharps and flats, without much effort.) In the rhythmical ear training work, the difference between 2 4 and 4/4 time must be heard by the careful gradation of accents: ll J J l J J It J J J J I J J J J I & tf tf mf sf rtf It J J J I J J I & ef The difference must be well marked at first in order to be heard. This exercise adds to the keenness of hearing and con- centration. 3/4 time should also be heard: II J J J i J J J | j j F j J , If the pupil is a beginner, this gives him the ability to hear these rhythms before they appear in any of his little studies and pieces, These rhythms should be played by the teacher, and written out by the pupil from hearing them. He must give the correct time 17 18 EARS, BRAIN AND FINGERS signatures and note values. It is better in this lesson to keep the rhythmical exercises on one tone. Now play J J If the pupil is a beginner and has not heard anything about a dotted note, the idea is to let him perceive the necessity of using the dot in order to give a note three counts. The pupil hears three quarter notes and then one note which is equivalent to the three quarters. This is the time to tell him that there is no note which represents three quarter counts. We have to use a half note with a dot after it. If the pupil is a child, the first steps in memorizing should now begin. Musical memory is made up partly of a reliance on the visual, the musical, the aural, and the intellectual faculties. The last mentioned are the ones that can always be relied on, and should be cultivated from the very beginning. It is well enough, ordinarily, to rely upon the fingers, the ear, or the impression of the looks of the printed page (as many players do), but none of these means can always be depended upon to stand the test of nervousness or stage fright. Conse- quently, the sooner the young pupil begins to cultivate intellectual memorizing, the better for him. When started at this early stage, it becomes a very easy, simple matter. A child should take an example of this kind, i He should look at the first two measures, then close the book, and see if he is able to tell on what tone the melody begins. For instance, -to tell in the first example (a) that it begins onE, pro- gresses a 2nd to F, then a 2nd to G, then downward a 3rd to E, EARS, BRAIN AND FINGERS 19 the note on which it started. He should write this out. Then he can be said to know this so thoroughly that if he were practis- ing it, he could give his attention more completely to his tone quality, or whatever he was specially working for. Two measures would be enough to memorize in one lesson, but in the next lesson he could take the rest of it. After a child has memorized a simple four-measure phrase in half and whole notes, he should be given a more complicated phrase, but one which contains different note values. For example: j m This gives him the task of remembering these changes, in addi- tion to the intervals. This is not to be done by ear, but is to be done by the mind. He should be able to state verbally how the melody progresses, specify the length of the notes, etc., and be able to write it out. This also improves his ability to read. Later he should be given melodies introducing dotted notes and rests. This sort of memorizing should be applied to the little pieces which he studies, and is sufficient until he is advanced enough to know about chords. (See Chapter XV.) TECHNICAL WORK (FINGER ACTION) The "Rocking Wrist" exercise should be continued in the daily practice for some time to come. The reason for this is not simply to gain the ability to do it correctly and easily, but to acquire the condition which this exercise develops. The next step in fundamental technic is the placing of the tone. This is done by establishing "pure finger action." By the term "pure finger action" is meant the movement of the finger at the knuckle joint without the slightest feeling of tension in the hand, wrist or arm during the lifting and dropping of the finger. Every one who plays the piano is supposed to use his fingers, 20 EARS, BRAIN AND FINGERS but there are comparatively few who use them without having some tension in the hand, striking with arm force rather than with the fingers. One reason why so many pupils come to a standstill techni- cally is that they are unconsciously using the wrong muscles. The development of the individuality of the fingers cannot be done unless the right condition has been established. (In more advanced work, the arm force is used repeatedly, and the weight of the arm plays an important role, -even in finger work. In fact, it is an important factor in modern piano playing. But the first work must be done with the fingers only.) Tone quality in piano playing does not by any means depend entirely upon the instrument. It is as important for a pianist to have his tone correctly "placed" as it is for a singer to have his voice "placed." The process of making the tone "free" is so simple that it is strange that there is not more attention paid to it. There are singers whose tone is naturally free, who are spared much of the drudgery which others find necessary. There are also pianists who are so equipped by nature. But piano playing is so much less a natural process than singing, that almost always a course of training is necessary to develop a good tone, to say nothing of the different qualities of tone. It is as disappointing to hear a pianist without a good tone, as it is to hear a singer with a disagreeable voice. When a singer's tone is once "placed," his voice is in a condition to develop to its full possibilities. So it is with a pianist. If the correct technical conditions are once established, his powers of development are limited only by his mental and musical capacity. As with a voice, to gain a tone of the best quality there must be a relaxation in the right place, and tension in the right place. The tone must have both freedom and firmness. A word of caution is necessary here. It will be found better to establish the condition of relaxation thoroughly before laying much stress upon the thought of firmness. The principle of finger action cannot be as clearly explained in a book, as in personal instruction, especially as the .means of get- EARS, BRAIN AND FINGERS 21 ting at it vary in the small details as often as pupils' hands vary in shape and condition. In general, however, proceed as follows. Allow the arm to rest on the table as at first when taking the hand position. Then place the hand in the position given in Cut I. Lift the finger slowly with as light a feeling as possible. The finger must retain its curved position, moving only in the knuckles, as if it had no other joints. After this exercise has been practised on the table several times take the same position at the keyboard which was used in the " Rocking Wrist" exercise. At first drop the finger on to the surface of the key, without depressing the key. After a few taps like this on the key, allow it to depress the key very lightly with- out any aid from the hand or arm, even if no tone comes at first. When the finger depresses the key there should be no pushing up of the knuckles. They remain high and quiet. The thumb plays from its side, and should be held well out from the hand. The thumb motion comes from the wrist joint only. It seems at first as if one could not make any tone in this way, and one should try to make only a very light tone, or none at all at first. The fingers are not enough under control to do more than this. Only this light, slow finger work should be done for a time. Any attempt to move the fingers rapidly, or to make a large tone, causes tension in the wrong place. If the holding down of the fifth or even the fourth fingers causes stiffness in the hand, release them from the keys. In playing with the fifth finger, there is a stronger tendency to pull from the hand than with the other fingers, on account of its weakness. Consequently one should take especial pains not to force the tone with this finger. Test the condition of the wrist and arm often in order to keep them loose. Let the arm swing at the side many times, and practise the exercise alternately w r ith the left and right hands. For instance, take the second finger of the left, then the second of the right, etc. The most important points are to keep the light feeling at the knuckles, to have the hand quiet, and NOT to work for a big tone. 22 EARS, BRAIN AND FINGERS As a voice teacher at first has a pupil sing very lightly or even hum, in order that he may gain the sensation of freedom in the tone, so the piano teacher should give the right conditions by in- sisting on light tones at first, at the piano. It should be under- stood however, that this extreme of lightness is only the first step. OBJECT OF THE LESSON I. Become sure of recognizing middle C by sound. II. Learn D and E and possibly F andG, and intervals of 4th and 5th from C. III. Learn to recognize 3/4 time, and the difference between 2/4 and 4/4 time. IV. Begin memorizing. V. Begin "pure finger action." CHAPTER VI. As the pupil has by this time learned several tones by ear, and also different rhythms on one tone, he is now ready to take up a combination of different tones and rhythms. A child should be given a very simple melody. For example : ^ He should be able t > name the intervals as he hears them (the 3rd from C to E, the 2nd from E to D, etc.) After he has named the intervals, the melody should be played for him again, and he should play it himself by ear. The next step is for him to write it. An older pupil who has already done considerable playing, has had more routine in hearing, and should be able to hear a more complicated melody. For example: ^ s The pupil may find that he is unable to retain the impression of so large a number of notes. In such a case it is advisable to cultivate the faculty of retentiveness by systematically grading the length of the melodies given. For example, let us assume that the pupil could retain the first four tones of this melody, and was 23 24 EARS, BRAIN AND FINGERS unable to proceed further. He should work to be able to re- member a melody of five tones. For example: *=f= =p 1* J . J . : [i ^ * =1 ' ^ ' , j 1 U Then of six ton^s: _C -frrl J * r E tJ tT Then of seven tones: Then of eight tones: ~y~A _ i Ii i i i ii TKen of nine tones: -u 1 i I i J t ^ =P -a^ -tf This is an aid to memorizing as well as increasing the powers of listening. For the rhythmical ear training work, he should be required to hear eighth notes. First play J j j j J with the metro- nome at 50, then 11 J""]] J"^ j"J J"J u " > > > > H The pupil should be able to tap these eighths with a pencil, without the metronome, but in the same tempo, and with the same evenness. He should also play them on the piano on one tone, noticing that there are two absolutely even eighths to one beat. (Voice pupils may sing la, la, la, la, etc. on one tone.) EARS, BRAIN AND FINGERS 25 Then he should hear combinations of notes of different value, as follows : u j n i j j if n J i n j , It JJ1JJ |J J 14 J JJ?|JJJ | |jJJ.n|JJ.nn/3J J |J JJ BJ/3J |PJ J I, It is far better for his sense of rhythm for him to be required to play eighths without resorting to the old fashioned device of counting one and, two and, etc. The idea should be to think of the quarter note as a unit divided into two even parts. Melodies introducing eighth notes may also be given. For example: (Here the pupil learns to distinguish between the accents of 4/4, 2/4 and 3/4 time) i P Mozart jj It is of especial value with a child, to select a melody from the piece or stud)' which he is to take up later. The rhythm of it 26 EARS, BRAIN AND FINGERS may be impressed on his mind by transferring it to a single tone. For example: ir f.r J Have him study out the rhythm by ear, then play the melody for him, and have him write it out from hearing it. By doing this you have prepared him to hear the piece before he begins to play it. The ear training work should be planned to anticipate the playing work in this way. More complicated phrases for memorizing than those given in Chapter V should now be given. For example: TECHNICAL WORK (QUICK FINGER STROKE) The single finger work should be continued with the light tone, even occasionally simply tapping the top of the keys as a test of the condition of the hand. Up to this time the finger stroke has been taken slowly, to en- sure the lightness at the knuckles. The stroke may now be taken more quickly, though the tempo of the exercise is not to be increased. It should be understood that when the idea of in- creasing the rapidity of the finger comes in, an effort of will is necessary in order to give the quick stroke. Care should be taken that as the stroke increases in speed, the relaxation of the hand is retained. EARS, BRAIN AND FINGERS 27 As the finger falls on the key, the weight of the arm rests on the finger tip because the arm is in a relaxed condition. The increased speed of the finger stroke gives a more ringing tone. The pupil must listen carefully to the tone, but not try to make it large. If the tone is correctly made, it will soon gain more dynamic power without any effort. It is important that the quick finger stroke be done rhythmi- cally, say in this way, Count 4 for each tone, the finger going down quickly on count 1, resting on the key for count 2, then going up quickly on count 3, but there must be absolutely no tension or jerking of the hand. The following exercise should now be given: R.H r u ! ~ FI ' * L.H. , 8 * 5 6 The purpose of the exercise is to educate the fingers to work in combination with each other and to increase their independence. In practising it, take the hand position, resting the finger tips on the depressed keys, knuckles arched, fingers curved. See Cut. I. It will be found of advantage at first to do this exercise "over- lapping," in order to center the attention on one point at a time, to retain the quiet and relaxed hand, and the light dropping of the finger. Count 4 to each quarter note. The finger drops at count 1, and the next finger is raised on count 3, causing the so- called overlapping of the tones. The "Rocking Wrist" should be done between times, to test the condition. Remember that when one finger is poised in the air, the weight of the arm is rest- ing on the other 4 fingers. As the finger falls on to the key, it joins the others in receiving the weight of the arm. Listen to the tones that they may become even in quality. NOTE. There is no danger that this "overlapping practice" will interfere with clean playing, as this is counteracted by other work, and is kept up for only a short time. 28 EARS, BRAIN AND FINGERS In addition to the above exercise for two fingers, the following exercises for three, four, and five fingers should be used: (They are played in the same manner as the two-finger exercise) .R H . ; ? 2 r 2 3 2 2 3 5 3 345* l.H.'t * 3 - " *>.n I i t l-A J J J =1=5 PP ' 8 3 3 2 |_Z 3 000 r r r r r r *"r r r r r I 4 i i i 3 L. a 3 3 '4 '4 3 2 By the time the pupil gets to the five finger exercise in this position, there should be a feeling of heaviness in the very tip of the fingers, while the hand is resting on the keyboard, and a feeling of lightness in the arm and wrist. This feeling will not be present if there is tension. The finger work should be a part of the daily technical practice for some time to come. The development of the strength and independence of the fingers depends mainly on this practice. This is important not only for the "technic" but for the de- velopment of "tone." The stronger and firmer the fingers grow, and the more control the player gains over the relaxation of the wrist and arm, the more free and "floating" does his tone become, OBJECT OF THE LESSON I. Learn to play a simple melody by ear, first naming the intervals. II. Learn to recognize eighth notes by sound. III. Learn to hear a melody which introduces eighth notes. IV. Do the quick finger stroke. V. Do the finger exercises overlapping. CHAPTER VII. The hearing of the tones of one octave of the C major scale should be a part of each lesson until they are all easily recog- nized by sound. The simple melodies must necessarily be con- tinued. Up to this point the melodies have begun on the down beat. The up-beat must now be introduced, first in the rhyth- mical work on one tone. Metronome at 50. If J JJ |J J j j After this, melodies introducing the up-beat should be given: I.E.MJJ3I.IJJI3 5 Bach "Loure" P oacn isnfi 1 ua L-Ut- roite t=F= | 1 i r' i * \\ * i. ^F^- * r I J i J JJ J Ml fe > * J ' -^ 3 1 Mendelssohn j The hearing of rests should be brought about in this manner: Mozart Beethoven FFF- J ^ J = ^ w * "- A Chopin 29 30 EARS, BRAIN AND FINGERS Play the above melody two or three times for the pupil; he must then play it. Probably he will leave the rest out. The teacher then plays just what the pupil played, and then what he himself played, until the pupil notices that there is a space be- tween some of the notes. The teacher should show him how to indicate the length of this space. He should be asked to hear and write quarter rests first, then later, the half, whole, and eighth rests. TECHNICAL WORK (THE FREE POSITION) The finger exercises of the preceding lesson were really a prepar- ation for the same exercises to be done in the following "free position," that is with the hand and arm poised on one finger only, while the others are held in the air. This is the position commonly used in playing. Place the thumb and second finger so that they make a circle, while the others are held in the air without stiffening the hand. (The fourth and fifth fingers have a tendency to stiffen. The holding of the fifth in too curved a position is likely to cramp the hand.) See Cut III. After noticing that the position is all right, re- lease the thumb, resting on the second finger only. Be sure that the thumb and fifth finger are ab- solutely free. The re- laxation of these two fin- gers is a very important point, in, that it deter- mines the condition of the entire hand, and also Cut in. has its effect on the wrist. Still resting on the second finger, play the thumb many times, lifting it only a little above the key (a high motion of the thumb makes the hand unsteady) , Next, rest on the thumb, play the second finger, allowing it to drop from a position a little above EARS, BRAIN AND FINGERS 31 the key. Do not push into the key with arm force, but drop the finger on to the key with the finger stroke only. Continue with the remaining fingers in the same manner: Hold second (re- leasing the thumb), play third several times. Hold third (releasing second), play fourth. Hold fourth (releasing third), play fifth. Hold fifth (releasing fourth), play fourth. Hold fourth (releasing fifth), play third. Hold third (releasing fourth), play second. Hold second (releasing third), play thumb. The non-playing fingers are held loosely in position above the keys. It will be found indispensable to practise the two, three, four and five finger exercises in the free position also with the "over- lapping" fingers, as in the previous chapter. The quiet hand and the finger action are then ensured, and most of all, the over- lapping of the fingers in this position gives the idea of resting the arm on the finger tips, better than anything else. The principle involved in overlapping the tones in this "free position," may be compared to a person's standing squarely on both feet, and then raising first one foot then the other. He does not press down into the floor, the weight of the body rests on one foot, as it is transferred from the other one. So in these exercises, the weight of the arm should rest on each finger tip as it is left alone to bear the weight after the quick down stroke of the finger. The form of the exercise is like that of the close position. Listen for the quality of tone and evenness of the fingers. OBJECT OF THE LESSON I. Review the hearing of single tones until each note of the scale is learned. II. Continue the hearing of simple melodies. III. Learn to hear the up-beat in single tones and melodies. IV. Learn to recognize rests by sound. V. Do the finger work in the free position. CHAPTER VIII. The ability to hear dotted notes is taught in explaining the significance of a tie. Play on one tone the following rhythm: J J J I j j a- After this has been heard and played by the pupil, play as follows: J- JJ J ljJ_JJ|J J Explain the tied quarter note being represented by the dot after it. In like manner: II J J-JJJ U.I/3J J || J JO J i ' |j J J 73 J in J 4_/JJ i| J J- J>J [ It is necessary for these to be played very precisely as regards the length of the tones, in order that the difference between them and J or J or may be distinguished by ear. The addition of the dotted notes gives possibilities for more variety in the melodies to be heard. For example: S , ** ^ ffl - I < J j j us* -*r r r _P *_j Schumann Beethoven EARS, BRAIN AND FINGERS 33 NFfT= ft Chop U&? in ! N | J r PT [ ^P Q ., Schubert V 1 r * * t^ 4 j J /-i-f- i ^ =^^ The hearing of the notes on the bass clef, and of tones made sharp or flat will not present any particular difficulty, if the ear work has been well done up to this time. To those who find difficulty however, it will be an advantage to start from middle C as a central point, and work downward. The comparison of C with B and with A, will make these tones easily heard. In addition to this, the notes of the bass clef may be heard by learning them from the octave above. For example, play G above middle C, the G an octave below it in the bass clef, and so on until the notes in the bass clef have all become fixed. If the pupil is a child, he should find the position of the bass notes on the staff for himself, figuring them out downward from middle C by the order of the alphabet, and writing them in the same manner that he did with the treble clef. r C B AG F E He can also learn to remember the added lines below the treble clef by making the two clefs himself on paper with just space for the line of middle C between them : Then he should write A on the top line of the Lass clef and erase the lines of this clef with the exception of the line on which A is found, leaving In like manner the lines above the bass clef may be learned. 34 EARS, BRAIN AND FINGERS The pupil should write the two clefs close together as before then should write E on the lowest line of the treble, then erase the lines of this clef with the exception of the line on which E is found, leaving The idea is to give him the realization that the only line be- tween the two clefs is for middle C. Any other line added to the bass clef above middle C is taken from the treble clef. Any line added to the treble clef below middle C is taken from the bass clef. The young pupil is usually unconscious of this because the two clefs are not printed closely together. The bass clef was not given at the time the treble clef was learned, for two reasons: the material written for a child's first playing is entirely for the treble, and there is quite enough for him to learn at first without adding anything until the time comes for him to make use of it. For a more advanced pupil, the bass clef may now be used for writing melodies by ear. For instance: ^^ p 1 TECHNICAL WORK (INCREASED SPEED) After mastering the free finger work outlined in the previous lessons, the same exercises should be done without the overlap- ping idea. There should be a quick uplift of the finger, at the same time that the next finger drops to make the tone, but the hand should be kept as quiet as possible. This quick uplift of the fingers gives clearness to the playing. This finger action may now be applied to etudes and pieces. Select an etude that is simple, and without scale and arpeggio passages. The following list gives a few compositions which are well adapted to the first application of finger action: Gurlitt, The Fair; Kullak, Nightingale; Heller, Prelude, Op. EARS, BRAIN AND FINGERS 35 81, No. 3; Daquin, Le Coucou; Kuhlau, Sonatina; Scarlatti- Tausig, Pastorale. In advanced form, Chopin's Etude Op. 25, No. 2. The first work on these must necessarily be made more techni- cal than musical, as the thought must be concentrated on the application of the principles that have been illustrated by the exercises. If the single finger work has been practised carefully every day, the finger independence should have been developing steadily so that by this time more quickness of movement may be required of the fingers by the introduction of eighths, triplets, and six- teenths, although the tempo remains the same. In the practice of these elementary exercises, and in the rhythm- ical ear training work the metronome is invaluable, but too much cannot be said against the use of it in other practising. Then it should be used only to test the tempo, or the accuracy of the rhythm in a difficult passage. In the finger exercises, eighths, triplets and sixteenths are now introduced: 14 J J A child should not do the triplets and sixteenths until later, because they have not yet appeared in the ear training work, and his fingers are not able to do them well. The difficulty that an older pupil will have in doing them, depends upon the indi- vidual. To simply be able to play the notes fast is not by any means the idea in this increased speed. The fingers must move from the knuckles with the same feeling of lightness, the same re- laxation of wrist and arm; and the same steadiness and quietness of hand that prevailed in the slow rhythm. If the pupil finds that even with careful practice he cannot accomplish this, he should be content to play the slower values until the fingers have gained more independence. Two very important points are to be observed in the increasing speed, namely, the tone should remain of the same quality and size in the triplets and sixteenths that it had in the quarters, and 36 EARS, BRAIN AND FINGERS as the speed of finger movement is increased, the fingers must play more closely to the keys. The two finger exercise in the increased speed develops the trill. The three, four, and five finger exercises may also be done in this way. In the following two finger exercise, the holding of the finger which comes between the tones of the broken 3rds, stimulates the independence of the fingers and quietness of the hand. 'Z.H --. -. s 1 - "S^ x- -^__ OBJECT OF THE LESSON I. Learn to recognize dotted notes by sound. II. Learn to hear melodies introducing dotted notes. III. Begin hearing of the bass clef. IV. Do the free finger exercise without overlapping tones. V. Increase speed in finger exercises. CHAPTER IX. 6/8 time is the next in order. Plmr fii-of '\0000mm .riay nrsi. Ho > II ff ntf Have the primary and secondary accents clearly defined and heard. Play also | J J^J b I J J^J ^Jand|g J- J- I J JO' I until they can be recognized by sound. Then melodies written in 6/8 time should be given. Heller Schumann Schumann For more advanced pupils, such as the following. A Chopin 5, .^ ^ > . Mozart -a. chube Hf JU Jl JiJI J.1J JJ.JJIJ a Beethoven 37 38 EARS, BRAIN AND FINGERS The hearing of Harmony is of more importance to the musician than the mere ability to write a melody by ear. The mental discipline gained by writing melodies and difficult rhythms from hearing them played, prepares the way for the hearing of Har- mony, which is a more difficult matter. The hearing of the intervals of the C major scale should by this time give no difficulty. The first step in the hearing of chords is to recognize the Tonic triad, which the pupil should understand, is formed on the key note. Play the three tones of the chord in succession, accenting them strongly. Then play them together: As this is seldom difficult to hear, proceed in the same way with GB D, the Dominant chord of C major, and/' 7 A C, the Sub- Dominant. The pupil should tell the tones of the chord by ear, and should realize that the tones of the Tonic, Dominant and Sub-Dominant chords are all in the "family of C major." These three chords represent three classes into which all chords may be divided. Consequently, the more thoroughly they are learned, the better it will be for the work later on. The pupil should be able to both play and write these chords after hearing them played. Q Proceed in the same way with *&-frg I the Tonic of C minor. Be sure that the pupil can easily recognize the difference between major and minor by ear. Do the same with the Sub-Dominant of C minor comparing this with the Sub-Dominant of C major, that the pupil may realize the difference between the two. The Dominant is the same in both keys. Follow this same plan throughout all the major and minor scales. It will take some time to do this well. The pupil should be able to both play and write these chords after hearing them played. EARS, BRAIX A\D FINGERS 39 TECHNICAL WORK (WRIST ACTION) In addition to the development of the consciousness of a light wrist, which was brought about by the "Rocking Wrist" exercise, the principle of the movement of the hand from the wrist, - commonly known as "wrist work" should be taken up. This is also best done at the table at first. The ability to let the hand drop of its own weight from the wrist, without any effort at striking down, is the first step. With the wrist held slightly higher than the level, allow the hand to rise slowly and lightly, and drop down on to the table. In the first work for finger action, it will be remembered that the finger was slowly raised, and allowed to fall lightly. In this exercise for the wrist, think of the hand as a finger, the wrist having the same relation to the hand, that the knuckles had to the fingers. The hand should not be pulled back with force or tension, but raised easily and lightly. At the keyboard allow the hand to drop lightly on to the third finger as that is the longest, then on the thumb and third finger, then on two and four ; then three and five ; then one and five on the interval of a 6th. After the idea of lightness has been gained, the hand should move more quickly, but keep the same condition. The exercise may be practised with increasing speed. as The more rapid the motion, the more closely to the keys must one play, so that with the sixteenths, the movement approximates a vibration of the hand. As an illustration of this principle in simple form, examine the Elfentanz by Parlow; The Clock by Kullak; At the Blacksmith's by Zilcher; Snow Flakes by Schytte. For older pupils, the Mendelssohn Scherzo in E minor; Debussy's Arabesque, in G; or Moszkowski's Etincelles. The wrist practice is the beginning of octave work which comes in more advanced stages. 40 EARS, BRAIN AND FINGERS OBJECT OF THE LESSON I. Learn to hear 6/8 time, in single tones and melodies. II. Learn to recognize the Tonic, Dominant, and Sub-Dom- inant chords in C major and C minor by sound. III. Begin wrist work. CHAPTER X. The hearing of triplets and sixteenths is the next point to be brought out in the ear training. Play four quarters at 50, as at first, - If | then in JJ3 JTJ J7i J71 | accenting the first of each triplet strongly, so that the beats may be heard clearly as before, and that the division of each beat into three parts may be heard. The pupil should tap the rhythm with a pencil, and also play it on the piano. Introduce combinations such as the following' I Melodies introducing triplets: Sixteenths present no particular difficulty, except that a child finds it difficult to play them on the piano on account of their rapidity. He may consequently tap them with a pencil or sing la, la, la, on one tone. 41 42 EARS, BRAIN AXD FINGERS Play four quarters first (I J J J J II then N II U > > := noting the division of each beat into four even parts. Following the same idea as before : I* JH3J J J 004m An older pupil should be able to hear examples like the follow- ing: J J J J| J73J i* J3i J- J3J. J5i JJ J353J 114 I > l> Or with thirty-second notes J. J>/3^J J | J . Pupils should practise these rhythm exercises at home for concentration, playing on Middle C or tapping them with a pencil using the metronome. Then play them for the teacher's criti- cism. Melodies introducing sixteenths and thirty-second notes in various rhythms should be given. For example : Cyril Sco!t EARS, BRAIN AND FINGERS 43 Schumann Scarlatti The pupil who has never had scales should be given the formula of the succession of steps and half steps, and write the scales out for himself, so that he understands why the sharps and flats are used. After a pupil is able to hear five tones of the C major scale, the sharps and flats are heard without extra work. The ability to hear other keys than C major also comes naturally. TECHNICAL WORK (SCALE PREPARATION) The preparatory work for playing the scale is next in order. The move- ment of the thumb under the hand is the first difficulty to be overcome. As the hand is held ob- liquely for scale playing, the following exercise is given to illustrate the position : . L.H Cut IV. "* (The fourth and fifth fingers held loosely in the air.) See Cut IV. The "Rocking Wrist" should be done several times in this 44 EARS, BRAIX A\D FIXGERS position, as the holding of the thumb under the hand has a tend- ency to stiffen the wrist. After this, proceed with the following exercises, using the light quick finger action from the quiet hand: ' H ^ " IJ- To this exercise is added the passing of the thumb under the hand from C to F and back. The thumb should move from C to F as quickly as possible in order to educate it to going under almost automatically, 6td the notes should be played slowly. The non-playing fingers are held in the air. Listen for the evenness and singing quality in the tones. LJL This brings the exercise to which is the first group in the C major s?ale. The rest of the octave is worked out in exactly the same manner. The first position is taken as follows, mm Do the "Rocking Wrist" in this position before starting the finger work and test the condition of the wrist often. The order of the exercises using the thumb under the fourth finger, is as follows: ^ 3 , .?' EARS, BRAl.\ A.\D FIHGER* 45 A 3414 2414 3311 L.H a "3414 2*14 2313 -343 i ^ < "8. 1 3, 4 1 4 3. 1 2 4143 1 23, 13.2 I 2 3 4 1 4 . . jii i 3 m j.JQ'* _^___j:.jt^ . ^^i it " tjia til t 4 t NOTE. If the hand is not small, but is one for which the the third finger presents no difficulty, the first set of preparatory rirnrrs for the scale may be omitted and those under the fourth finger begun at once, as this saves time. For a gmaTl hand however, the first set is advisable as a : for the larger stretch. A child's hand is too small to do the thoadb the fourth finger. He may do the exercise which trains the thmb second finger and play only the one octave scale. OBJECT OF THE LESSON I. Learn to hear triplets and 16ths in single tones and melodies. II. Learn to write scales. III. Do preparatory exercises for playing scales. CHAPTER XI. The hearing of the Tonic, Dominant, and Sub-Dominant chords in their inversions should now be given: IV These chords may be introduced in other keys also. Take the keys of G major and F major first. The pupil should understand that in the key of G major, the chord G, B, D, which he previously learned as Dominant of C, is the Tonic of the new key, and that the chord C,E,G, is now the Sub-Dominant in the new key. In F major, that F, A, C, is no longer Sub-Dominant but Tonic, and C, E, G, is Dominant in the key of F. For children, the melodies (which should still be given in the ear training) will necessarily remain quite simple and short, as the music they should be playing by this time, and from which the melodies should be selected, is of simple character. Older pupils may be given more complicated work, for example : Bach An added test for concentration is the ability to hear the dif- ference between 8ths and triplets when in succession, and to 46 EARS, BRAIN AND FINGERS 47 practise them with the metronome at home. For example: If-QJEJJJJJlIf JEJ3JEJ3 | JJ3J9U|f J. After these rhythms can be heard on one tone, introduce them in melodies : Chopin Schumann Leschetizky, Mazurka Sibelius, Barcarolle Another very valuable aid in developing concentration is the hearing of such passages as the following. Pupils are usually quite confused in trying to hear them. In the first example for instance, the fact that the sequence DEF sharp is repeated four times in the first measure, is rarely heard by the pupil at first, and he seldom realizes that these three tones combined with A , form the entire measure. The teacher should play these examples in a slower tempo than is called for in the original. Bach 48 EARS, BRAIN AND FINGERS Bach TECHNICAL WORK (THE CLOSE TOUCH) Up to this point the technical work has been done entirely with the high finger action, in order to establish the correct con- dition of the hand and arm. By the time preparatory work for the scale has been done, the condition of relaxation should have become so natural that the finger work can be done close to the keys and not affect this condition. This close work should not be done until the finger action is well established. For if it is done at first, it causes the tone to come too much from the arm, has a tendency to make the tone hard, and to ''tie up" the playing apparatus so that freedom is impaired. The finger exercises as outlined in Lesson 3 are adhered to. Place the hand in position, resting on the depressed keys as at first. The finger which is to play comes up as far as the key itself comes (in other words, it does not leave the surface of the key. Then with a quick downward stroke of the finger, the tone is produced. It must be observed that the tone is produced by finger action, although the finger has not left the surface of the key. Great care must be taken that this does not degenerate into a "punch" from the arm. The quality of tone de- pends upon the lightness of the wrist and arm, and the quickness of the short finger stroke. The tones are produced by a Cut V. EARS, BRAIN AND FINGERS 49 quick motion of the finger, but are played slowly. The sensation of weight and firmness of the finger tips is developed by this touch. Consequently, more singing quality and greater volume of tone is the result. To avoid the tone getting too heavy in quality, practise this close work alternately with the higher stroke. In the free position as described in Chapter VII, this touch is particularly valuable as it is so fre- quently used in playing. The finger which is to play drops on to the surface of the key, then presses the key quickly to the bottom. In the two, three, four, and five finger exercises, Cut vii. the finger which has played before the one sounding the tone should spring up quickly at the time the new tone is sounded. It immediately assumes the position above the keys taken in the tree position. See Cuts V, VI, and VII. This work close to the keys is of very great importance in a pianist's technical equipment. It is particularly valuable in the development of his tone, and must be carefully studied. OBJECT OF THE LESSON I. Learn to hear the Tonic, Dominant, and Sub-Dominant chords of C in their inversions. Also in G major and F major. 50 EARS, BRAIN AND FINGERS II. Learn to hear 8ths and triplets in combination, and con- tinue melody work. III. Do technical work close to the keys. CHAPTER XII. The hearing of intervals was begun with single tones following one another. The definite hearing of two voices at once should now be taken up. It would be well to introduce the specific size of intervals at this point also. (Major and minor 3rds, perfect 4ths, etc.) It is necessary for children to hear two voices at once, because so many of the easier compositions are written in two voices. For the children, as well as the older pupils, this training should precede the playing of polyphonic works, which are so valuable for the intellectual as well as the technical development. Very simple and short passages should be given at first, par- ticularly to children, that the progression of each voice maybe clearly heard. For example: fj - ii Sf -t J J i V7* J m -p- J i !l & 4 j.. > 3: " f^ i ^ i^'j 1 1 j- [[f p J^J 1 a I ^,, i jji,) | J ^v j. * J ' t) -e- Scarlatti " ^ T r r |* r ' r r r r Wagner/' Lohengrin J J J 51 52 EARS, BRAIN AND FINGERS When these can be easily heard and written, the two clefs may be introduced. The soprano and bass voices of the complete cadence may also be given here as a preparation for the hearing of the cadence. (See Chapter XIV.) p f, l) 3 ^f J )AUo in other keys TECHNICAL WORK (SCALES) The first preparatory exercises for the scale have been for the development of the rapidity of the thumb in passing under the hand. The next step is the joining of the two groups and the passing of the hand over the thumb. To illustrate this, hold C with the thumb, (hand oblique), then playB with the fourth finger and D with the second, being care- ful that the hand and arm retain the same oblique position as they pass from B to D. They should move slowly and steadily without a quick jerk, allowing one count for the silent thumb in this manner (the hand passes during the quarter rest.) .H. cT^ i. a 3E if* Thumb held. These two measures form a nucleus from which the scale may be built up by adding a tone at the top and bottom each time until two octaves have been played. This gives variety to the EARS. BRAIN AND FINGERS 53 practice and also brings about many repetitions of the exercise unconsciously. From this point the four octave scale may be done without further preliminary work. In good scale playing there are twelve points which are important factors : 1st. Knowledge of the scale formation. 2nd. Oblique position of the hand. 3rd. Loose wrist and arm. 4th. Finger action from the knuckles. (High finger action and close finger action.) 5th. Curved fingers. 6th. Quickness of the up action of the fingers. 7th. Passing of the thumb under quickly. 8th. Sense of rhythm. 9th. Hand slightly tipped toward the 5th finger as the movement is in that direction tipped toward the thumb as the movement is in that direction. Depression of wrist at turning points. Steady parsing of the arm. Evenness of tone quality, developed by keenness of hearing. Chromatic scales are played in a similar manner to diatonic scales. The wrist may be held somewhat higher on account of the frequence occurrence of black keys. The thumb should be near enough to the edge of the black keys so that they have the same relation to the hand as the white keys, and that the arm may pass along in a straight line from right to left without going zig-zag back and forth. The practice of chromatic scales is of particular advantage in developing fluency, in that they require a light thumb, and the frequent recurrence of the thumb gives this unruly member of the hand special training. OBJECT OF THE LESSON I. Learn to recognize the specific size of intervals by sound. II. Learn to hear two voices by sound. 54 EARS, BRAIN AND FINGERS III. Do the preparatory exercise for the passing of the hand over the thumb in scales. IV. Begin the practice of four octave scales. CHAPTER XIII. As the ability to hear the Tonic, Dominant, and Sub-Domin- ant triads when played singly, should now be acquired, the ability to hear them in combination is the next step. This will not present any special difficulty, if the single chords were well learned. Begin as follows: 8 =r l's' 1 '!! " Transpose to G and F major f. 'H Then f> ft ) O II tl * t* * *y " o XT XT * ti i> \ ti i\ rr- i f/C. * Transpose to G and F major 55 56 EARS, BRAIN AND FINGERS In playing these chords for the ear training work, it is well to play them first with all three voices equally strong. Then, if it is difficult to hear them, they should be played again, first em- phasizing the upper voice, then in turn the middle voice and the lower voice. In this way, the fact that the chords are formed by the coming together of three voices, each 01 which has its own movement (voice leading), will be better realized. The playing of the Tonic chord at the beginning of the com- plete cadence, (see A) gives the pupil the key. The Sub-Domin- ant falling on the strongly accented first beat of the next measure gives him the sense of its leading toward the Dominant. While the final Tonic chord following after the Dominant, gives him the realization of finish or completion. This prepares him for the hearing of the cadence in the four-voiced harmony which comes later. If the pupil has difficulty in recognizing the key, when these chords and cadences are played in other keys than C major, he may be guided in determining the key note by comparing it with middle C. For instance, if the chords are to be given in G major, play at first as follows: (fo ==: 5^ When the pupil has )' -e- recognized the tone G, sound the Tonic chord of G major and he will know the key in which the chords are to be given. TECHNICAL WORK (ARPEGGIOS) The preparatory work for arpeggio playing is founded on the same plan as that used for scales. The first position is to place the hand on the C major chord. m-U-| The position of the hand when taking this chord depends upon its size and shape. Generally speaking, the hand should be well arched and some- what tipped toward the fifth finger, with the second and third fingers curved. The "Rocking W>ist" should be done in this new position. Then the single finger work. The hand must be absolutely vrithout tension. The increased span is apt to cause EARS, BRAIX A.\D F/A 7 G/?S 57 one to imagine that the hand must be stiffened to reach the chord. Swing the arm at the side many times until the position can be taken without stiffness. It may be necessary to take a very light tone once more or even to play on top of the keys in order to be sure of this relaxation at first. The fifth finger may be held on B instead of C, or allowed to be free, if the hand feels cramped when it is held down. The order of the exercises is as follows: K.H 3 > Arpeggios are played with the fingers close to the keys, for the spread position which the hand must assume, brings the fingers closer to the keys than the other position. The movement of the thumb under the hand is a little more difficult in arpeggios than in scales on account of the increased distance which the thumb has to go. The exercises for the development of the thumb in arpeggio playing follow the same order as those of the scale. Place the third finger on G and the thumb under on the C above (hand oblique), the non-playing fingers being free. If the plan used in the scale preparatory exercises were to be followed exactly, the second finger would be held on E. But this is too great a strain for the ordinary hand and is not advis- able unless it can be done easily. The hand may turn a little when the thumb goes under. 58 EARS, BRAIN AND FINGERS The order of the exercises is as follows: LH. 4 ^ r r 1 " i Following the order of the scale preparatory exercises, the passing of the hand over the thumb is the next step. The prin- ciple of the passing of the hand and arm in this exercise as applied to arpeggios, is the same as was required in the scale work. .L.H. The four octave arpeggio may now be practised. The points to be observed are identically the same as those for the scale playing. The position of the hand for the C minor arpeggio is the same as for C major with the exception of the second finger, which is held straighter on the E flat. The following order of chords is useful in practising arpeggios: 9J "**" """ '*' fl ff ft The arpeggios built on the simple triads are to be practised in groups of four notes; those on the Dominant 7th in groups of three notes. This is to avoid the successive accents falling on the thumb. EARS, BRAIN AND FINGERS 59 The diminished seventh arpeggios are also done in groups of three. When the finger work is practised in the Dominant 7th and Diminished 7th chord positions, it will be found that the hand is both strengthened and stretched. Care should be taken not to practise these positions too long at a time. The arm and hand should be relaxed often, and the exercises done with each hand alone, as is the case with all the finger work. OBJECT OF THE LESSON I. Learn to hear Tonic, Dominant, and Sub-Dominant chords in combination. Also in the form of the complete cadence. II. Do the preparatory work for arpeggio playing. CHAPTER XIV. In Chapter IX it was stated that the Tonic, Dominant, and Sub-Dominant chords represent three classes into which all chords may be divided. The development of the ability to hear the complete cadence with four voices is consequently a most important step in the ear training, as it illustrates the funda- mental use of these chords, and is a foundation for hearing a great number of chords. The mission of the Sub-Dominant chords is primarily to lead to the Dominant; while that of the Dominant is to lead to the Tonic, as was shown in the previous lesson. The following order is best adapted for hearing this relationship, I, IV, V, I: [ ^ W J 1 p Hi 8 This cadence should be played in all major and minor keys until the pupil is able to recognize and write it in all keys from hearing it played. I i Z^^P elc. in minor The principle of -the classification of chords under these three heads is admirably explained and completely developed in Van Eyken's Harmony (edited by Dr. Hugo Leichtentritt and Oskar 60 EARS. BRAIN AND FINGERS 61 Wappenschmitt). The reader is recommended to examine this work for a thorough study of Harmony along these lines. TECHNICAL WORK (OCTAVES) The wrist work outlined in Chapter IX is really preparatory for octaves. The ability to drop the hand from the wrist and to retain this relaxed condition in rapidity, has great value in octave playing. It is necessary to have sufficient strength in the fifth finger side of the hand to be able to drop the hand on to the thumb and fifth fingers, and still have the weaker side of the hand able to receive the weight put upon it. There are special exercises for the development of this point, but as they should be shown by a teacher in order to be successfully done, they can- not be given here. This principle of the dropping of the hand is applied to staccato passages in single notes. For example, the opening measures of Moszkowski's Juggleress, the Debussy Arabesque No. 2, or the Brahms Capriccio in B minor. In diatonic or chromatic octave passages, or a combina- tion of the two, a somewhat different treatment is necessary. The wrist is held considerably higher, with the thumb close to the edge of the black keys. In fact, the thumb should move away from the black keys as little as possible. The fourth finger should be used on the black keys, if this finger is convenient for the hand. If the hand is small or so shaped that it is very awk- ward to use the fourth finger, the fifth may be used instead. The tone is produced by the fingers in combination with a slight vibration of the hand at the wrist. As a preliminary exercise for this kind of octaves, the playing of the chromatic scale both legato and staccato with the fourth and fifth fingers alone, is c.d vised: J * r r V r V r 'T r 4 4 5 5 4 5 The hand is held as if octaves were to be played, the wrist high and the fingers straight. The arm passes steadily along in 62 EARS, BRAIN AND FINGERS a straight line. The same may be done with the thumb alone, keeping it close to the black keys. Then proceed with the octaves. There is also an elevation i.nd depression of the wrist when playing this kind of octaves, according to the way the pass- age is written. The advantage in playing melodic passages written in octaves in this way, is that they gain a more connected and melodic character, instead of being merely a succession of octaves, and there is the greatest possible economy of motion. The more tone demanded in an octave passage, the more the arm force is called into play. For example, the Mendelssohn Scherzo (end of the passage in octaves) : ff At the last part of this passage, in order to gain as much tone as possible, with the least effort, the wrist should be quite high with the thumb straight, and the movement from the elbow, as this brings the force of the arm down on to the straight thumbs. There is a certain quality of "bounding" from one octave to the other here, which aids in the maintenance of relaxation. As a rubber ball bounds after hitting a hard surface, so the arm should bound from one octave to another in forte passages. This is developed in the slow practice. It is a mental conception of a sensation rather than a physical reality. The first part of this passage from the Mendelssohn Scherzo, illustrates another important feature of octave playing, whereby strength and endurance may be saved and the passage given a more musical character. The unaccented 8ths are played lightly from the wrist, while the accented notes are given more tone by a strong accent from the arm until the C at the top has been reached. Then the arm is used in every tone as explained above. EARS, BRAIN AND FINGERS 63 In very heavy octave passages where fortissimo octaves are demanded for several measures, it is important that the slow practice be done in the manner which will give the most tone and speed in velocity. In such a case there should be very little, if any movement of the hand from the \vrist. On the contrary, the hinge is at the elbow. The hands remain close to the keys, but the movement from one octave to the next should be made as quickly as possible. The wrist is again high, to gain the strength of the thumb. Such octaves are fatiguing, and should be practiced only a few times in succession. In a passage like the following from Leschetizky's Intermezzo in Octaves it is best to think of playing the entire passage from one impulse of the arm. The arm falls on the octave F at the top of the passage, and seemingly bounds over the rest of it. In reality, after the first tone, it is wrist action. But the thought should be of the passage as a whole and not of each individual octave. The hand which by nature is best adapted for a fluent and brilliant octave technic, is one which has a very wide span be- tween the thumb and second finger, or is large enough so that it can be held relaxed, and still reach octaves without a feeling of stretching the hand to cover them. It is not advisable for per- sons with small or sensitive hands to attempt to develop a great octave technic. It requires more physical endurance than such a hand is capable of maintaining. OBJECT OF THE LESSON I. Learn to hear the complete cadence with four voices in all major and minor keys. II. Learn to hear chords as they appear in examples from compositions. III. Begin octave work. CHAPTER XV. At the time when the complete cadence can be well heard, the pupil is thoroughly prepared for a special Harmony teacher, and should without question make theory work a part of his music study. From this time on the development of that branch of ear training is continued by the systematic study of Harmony along these lines. In order to make the ability to hear the cadence of still more practical value, examples should be given from compositions in which these chords constitute the underlying harmony. The teacher should play the example given, and the pupil should tell the chords on which it is written from hearing it played. If this is too difficult at first, the teacher may play the simple harmonies for him to hear, and then repeat the passage that he may learn to recognize the same chords in the form in which they appear in the example. Extracts from German Children's Songs i 5 Cmajo: U C mnjo Tonic (I) I IV I IV V I I V \ IV V G major & Si V I V 64 EARS, BRAIN AND FINGERS 65 Mozart, Sonata ^ F-E- C major Sub -Dom Tonic Dom. Tonic C IV 1 .Ph> E. Bach, "Solfeggietto" i cl V Schumann, Op.15 s Gmjor G I 66 EARS, BRAIN AND FINGERS The continuation of the hearing of polyphonic work is of great importance as it leads to a better preparation for the study of counterpoint, and the playing and understanding of the works of Bach. Continuing from the simple forms illustrated in Chapter XII in all of which the ^wo voices entered, and continued together, introduce two voiced passages in which the second voice enters later than the first. For example: Jk f^f Gurlitt f=r TTT tf y [ fcr T The following passages written in two voices are to be used as a continuation of the exercises for concentration given in Chapter XI. (Here, as in Chapter VI, the length of the passage given must be determined by the retentiveness of the pupil.) Beethoven EARS, BRAIN AND FINGERS 67 TECHNICAL WORK (VELOCITY) The underlying principle of playing with fluency and velocity is the ability to "let go" in other words, relaxation. The ability to think quickly also plays an important part in maintaining steadiness and control in rapidity. The first thought in the development of velocity is to stimu- late the idea of playing a group of notes with the thought of the group as a whole, and not as a succession of single tones. At first it is not advisable to attempt to have a big tone in fast playing. The principle given in the development of a single tone should be followed. When the condition of relaxation in rapidity is obtained, work for more tone, but be sure that the condition remains the same. Begin with a short group of only three to five tones: R.H Play them at first quickly, but lightly, or even on top of the keys with no tone, in order to gain the sensation of "letting go." After each group, swing the arm at the side, and be sure that the same feeling of lightness remains in the hand and arm when play- ing the short group of tones, that prevailed when the arm was swinging. If they are relaxed, the tones will be perfectly even. Unevenness is caused by stiffness. The thought is to be centered on the playing of the group by one impulse from the hand, not by a separate impulse from each finger. The groups are begun on the thumb, r.s it is easier to drop the hand in a relaxed con- dition on the thumb than on the fifth finger. After the first group, however, the following may be done: L.H. Listen carefully for the even- K.H. ness of quality, and in the fol- lowing group be sure that the thumb does not sound heavier, but has the' 68 EARS, BRAIN AND FINGERS same evenness of quality that prevailed in 1 2 3 4 5. With this as a foundation, build up to a one octave scale or over. R.H. I " a ',-1 3, 1 '" 'l V"| In the longer groups, keep the same idea of one impulse for the group as bet ore. Other keys besides C major should be practised, also chromatics. It is taken for granted that the fingers have gained considerable independence in the elementary finger work before this velocity work is begun. Fluency in arpeggios and octaves is brought about on the same principle: 1 4 2 J 1431 In the development of octaves, a still shorter group is advisable at first, for the added stretch of the hand is apt to cause tension. EARS, BRAIN AND FINGERS 69 In chromatic octaves, the principle of the so-called finger octaves should be observed. Just as soon as these groups can be done easily, the principle should be applied to compositions illustrating it. For example: Easy, Pixies Sliding Down HilL Waltz in C major. Ghost in the Chimney. Spanish Dance, Op. 228. Brown, Dennee, Kullak, Gurlitt, Medium, MacDowell, Heller, Grieg, Ph. Em. Bach, J. S. Bach, Lavallee, Chopin, Shadow Dance. Preludes, Op. 81, Nos. 3 and 10. Little Bird and March of the Dwarfs. Solfeggietto. Sth Invention. Butterfly. Waltz, Op. 64, No. 1. Advanced, Scarlatti-Tausig, Pastorale. Schumann, Bird as Prophet. Arthur Hinton, Etude Arabesque. Leschetizky, Intermezzo Scherzando. Beethoven, Scherzo from Sonata Op. 14, No. 2. Another point in velocity finger work which is worthy of notice is that there is often one tone in a group around which the others center. Consequently the impulse comes on that tone and the rest of the notes seem to bound from it. For example: Leschetizky's "Toccata" The impulse here comes from a throwing of the third finger. Beethoven, Sonata, Op. 28, last movement at the end: Beethoven, Sonata Op.28 70 EARS, BRAIN AND FINGERS Similarly in Schumann's Traumeswirren: Schumann, "Traumeswirren" This principle can be applied to music for children also; for instance: Schytte's/'Tag OBJECT OF THE LESSON I. Continue the hearing of four voices. II. Begin velocity work. CHAPTER XVI. The cadence up to this time has been heard in its simple form of Tonic, Sub-Dominant, and Dominant, Other harmonies may be used in place of these chords which give the cadence a change of color but do not alter the character of it. These chords which may be used as substitutes for the original I, IV, V, I, may even be considered alterations of them. The development of the ability to hear a chord written differ- ently than it appears in the simple cadence (being used as a substitute for the original form and serving the same purpose), is highly important and should be carefully studied. Follow the directions in the previous lesson. Examples for training the ear to hear this point are as follows: For instance, the Dominant Seventh should be heard as taking the place of the simple Dominant: rfr- \Q$ pm d [^ ^== ^ ui_ i V ===* -ti- G major , Ftnajor f ^ . Cm nor 1 o o i I IVV 7 I I IV V, 1 I IV V, I I IV V, The Super-Tonic chord should be heard as taking the place of the Sub-Dominant: C I II V I G 1 II V -D I II V 7 I C I II V -I 71 72 EARS, BRAIN AND FINGERS The following examples contain illustrations of the use of both Dominant Seventh and Super-Tonic chords. Extracts from German Children's Songs i ft C 1 VI II V, V, I G V, pip nf p Iff G I II Schumann v V i trujr T ^^ t E II V I Beethoven Beethoven D I P E. Bach EARS, BRAIN AND FINGERS 73 Farlow |> 2 N 1 : J 1 ~ 1 Jjl n i III] ^-1 C f C ^^= c: c = -1 F^ C f-4 I f H v. I G II if V i IV The Supertonic Seventh (II 7 ) used in place of the Sub-Dominant. I 9 P etc. in other keys : g^ = ^ ^ !!=* * v G n, n, i Tchaikovsky, Op 39, N921 m iM T- c n 7 Bach, Prelude * r r C I r r 74 EARS, BRAIN AND FINGERS Beethoven,Sonata, Op. 2, N? 3 /L (^ J 5 Beethoven, Sonata, Op. 53 flu tf. I I J /J Sg^b ft (5 #9 M E V ? I II 7 T5Jj M ! r r r r ir J C I II Binding, "Chanson" The Supertonic Seventh in Minor: E fj. v S 3 =fi = TT o 8 L, -8 t= E minor I II 7 V A minor I II 7 V 1C minor I II 7 V 7 I ^F^ F tdinor j II V I ^ minor I II 7 V Tchaikovsky Schumann"Little Romanze" & V m w E minor I V I A minor I II 7 I 4 Chopin ^ C minor EARS, BRAIN AND FINGERS 75 Tchaikovskv F minor IV II, I J ^ B minor \1 7 #* I * The use of the minor Sub-Dominant in a major key was sug- gested by some of the examples given in Chapter XIII (B and C), for hearing triads. For hearing this chord in the four-voiced cadence, proceed as follows: etc. in other keys Illustrations of this form of the cadence: Heller, Prelude, Op. 81, N9 1 h iya C I IV I minor IV Liszt, Sonnette de Petrarca,N?123 VII I t k minor IV I (suspension) 76 EARS, BRAIN AND FINGERS See also Chopin Etudes, Op. 10, No. 10 (last three measures) and No. 12 (last two measures.) In hearing the Diminished Seventh chord in the ear training work, the point for the pupil to first determine is the key in which it is written. This he will be able to tell after hearing the chord resolved. The chord itself, played without its resolution, may suggest any number of keys. But as soon as the resolution is played, its character is at once determined. For example: C minor or major A minor or major El> minor or major Fjf minor or major After hearing one of these Diminished Seventh chords and its resolution played, the pupil should be able to name the key in which it is written, and to tell on what tone the Diminished Seventh is founded. He should know that this chord is founded on the seventh degree of the harmonic minor scale and may be considered in the light of a Dominant Minor Ninth with the Dominant tone omitted: C minor \g Dim 7th It may resolve into either major or minor. Examples illustrating the use of this chord, which should be played for the pupil to hear after the preliminary work is done, are as follows: Parlow, Op 98, Nl A C 1 Dim 7th A minor onG| I EARS, BRAIN AND FINGERS Schumann, "The Poet Speaks" 77 A minor Dim. 7th Ig Dim 7th on Gil onGs Beethoven, Rondo in C I 6 U C minor I dim. 7th on B Beethoven, Sonata, Op 10, N21 m W C minor dim.7th I II 16 5 I Beethoven, Sonata, Op. 41, N9 1 A minor II; Schubert, 'Faun in Spring" 78 EARS, BRAIN AND FINGERS Schumann, Novelette N96 Fjj tumor Dim. 7th on EJ! These few examples should be sufficient to give the idea how to apply the ear training work to the hearing of music harmonically. There is practically no limit to the amount of material which may be used. As the pupil advances in his theory work, he should be capable of understanding and hearing more compli- cated harmony. TECHNICAL WORK (CHORD PLAYING) As a rule, chords are played close to the keys, that is, pre- pared. By this is meant that the hand should be over the notes of the chord before sounding the tone. There are so many fac- tors entering into good chord playing however, that they must not be overlooked. For example, the shaping of the hand to fit a chord has already been spoken of at the beginning of the chapter on arpeggios. (The curved firm fingers on the white keys, and the firm but straight fingers on the black keys, with the hand as well arched as the size of the chord and the shape of the hand allows.) The looseness of the arm from the shoulder is another very important factor in obtaining a good quality of tone. Hardness of tone in chords is almost always traceable to stiffness in the arm, particularly in the shoulder. A chord passage should be practised slowly enough for the arm to be relaxed at every chord. The impulse in chords comes usually from the upper arm. The arched hand rests on top of the keys over the chord, before the tone is sounded. There is an instant of tension in the upper arm which causes the tone, but the relaxed condition of the arm must be immediately resumed. The weight of the arm is added to the tone, but the wrist must EARS, BRAIN AND FINGERS 79 have as much elasticity as possible at the moment the chord is sounded. The addition of the weight of the arm gives sonority to the tone and prevents the hard "steely" quality which prevails if a chord is played with too much tension. A good example of such chords is found in the Chopin Prelude, No. 20. In a more advanced form, in the introduction to the Tchaikovsky Concerto in B flat minor. In an isolated or staccato chord which is to be played both staccato and piano, the hand is prepared on the keys and then flies up from the wrist with as little "digging" into the keys as possible. When a larger tone is desired, more force from the arm is exerted, causing greater reflex action. Examples of both kinds of staccato chords are as follows: . Schytte,"Willo' the Wisp" Kullak, Op.62, N21 Q % i m m m \\ Q i /> I r^i r^ PP 1 y fi< Parlow, Op.98,"N2l Beethoven, Sonata, Op.l4,N9 2 ^ j Q ^ P t, f tf Schumann, Scherzino, Op. 26 7n Ze^a^o chords requiring a singing quality rather than bigness of tone, the hand is held prepared over the chord, close to the 80 EARS. BRAIX A.\D FINGERS keys, while the arm and wrist sink with weight into the keys. For example: Schumann, Op.68, X9 41 Schubert,"Moment Musical" I m f t> ^m Chopin, Nocturne Op.37, \9l P Another important point is illustrated here, the necessity of playing the upper voice with a decidedly singing quality of tone. The technical work done by the fifth finger in the elementary finger exercises proves its value here, for the firmest tone has to be made with the weakest finger. The firmer the fifth finger is, the more one is able to allow the weight of the arm to rest on it without a feeling of contraction, and the better the tone of the chord will be. Other illustrations of this point may be found in The Poet Speaks from Schumann's Kinderscenen, Sunday Morn- ing by Kullak, MacDowell's Water Lily, Rachmaninoff's Prelude in C sharp minor, and the Brahms Intermezzo, Op. 118, No. 2. A succession of chords such as is often found in accompaniment to a melody, is played similarly. For example, the Fourth Prelude of Chopin. The left hand remains close to the keys in a well arched position, which is modified as the chords change. The tone is made by the wrist in somewhat the same manner as the "Rocking Wrist," with the hand remaining firm. An example of this in an easier form is found in Reinecke's Thousand and One Nights. Chords which demand a very strong accent, particularly in a rapid tempo, are played as if "pushed away" from the player. The hand is close to the keys, but a sudden impulse from the arm, EARS, BRAIN AND FINGERS 81 and the "pushing" the chord away, causes the wrist to spring suddenly upward and forward. Examples of this kind of chords will be found in Binding's Marche Grotesque, the first movement of Schumann's Faschingsschwank or the Brahms Rhapsody in E flat. In playing a quickly arpeggiated chord, set the hand over the notes of the chord, then quickly turn the forearm so that the thumb side of the hand flies very swiftly upward with the fingers remaining firm. Think of playing the chord as a whole, not of each individual finger. This gives an exceedingly crisp, light, and clean chord. Examples follow: Schytte,"The Guitar Player" Mendelssohn, Scherzo, in, J minor I B y y Brahms, Capriccioin B'minor OBJECT or THE LESSON I. Learn to hear the cadence when played with other har- monies than I, IV, V, I. II. Learn to hear chords as they appear in compositions. III. Begin the study of chord playing. CHAPTER XVII. PHRASING The hearing of Phrasing is an important part of the ear training work. At first it is better to select phrases of regular length, and those which are definite both rhythmically and harmonically. For example, the Nachtstuck inF by Schumann: Question The pupil should think of the phrases in the light of question and answer, as he will be better able to realize their relationship in this way. He should be able to tell where the phrases end, and where the period ends, from hearing the passage played. So few pupils can recognize a phrase by sound, that it is important to develop this point in the ear training. Simple ballads like Swanee River or Comin' through the Rye illustrate this point, and are very useful for the hearing of phrases. The following are also useful examples for illustrating this: Beethoven. Minuet from Sonata, Op, 49, No. 2. " Minuet from Sonata, Op. 22. " Andante from Sonata, Op. 14, No. 2 Bach. Gavotte from Third English Suite. Schumann Happy Farmer. " From Foreign Parts. Chopin Chorale from Nocturne, Op. 37, No. 1. Prelude, Op. 28, No. 7. Th. Lack Cabaletta. Mendelssohn Consolation and Spinning Song. Reinecke Sonatina, Op. 47, No. 1 (2nd movement.) 82 EARS, BRAIX AND FIXGERS 83 The ability to hear crescendo and diminuendo, ritardando and accelerando, legato and staccato, is a point which at first thought seems superfluous to dwell upon. But it is astonishing to notice how very often a person playing is unable to hear these effects in his own work. He thinks them, and thinks that he is making them, but the listener has no realization of it. Take for example, a melody like this one from Moz :.rt: Mozart The pupil should be able to tell from hearing it, where the crescendo and diminuendo, staccato, etc. are found, and be able to play the shadings, etc., after hearing them. Beethoven Mendelssohn, Song without Words, N9 22 For the hearing of slurs and the ability to clearly define the 84 EARS, BRAIN AND FINGERS difference between staccato and slurs, such melodies as these should be used: From German Children's Songs V) ^ ^ ' I ; The teacher should select melodies from the compositions being studied, as far as possible, particularly if the pupil has difficulty with these points. PEDALING The use of the pedal should be studied from the standpoint of ear training, as good pedaling depends upon the ability to hear well more than anything else. The following elementary exercise from Schmitt's Use of the Pedal gives the beginner the idea of the so-called "syncopated" pedal, which is the first use of it. J f J * J 2 3 f f \ The pupil should notice by listening closely, that the pedal connects the tones which otherwise would be disconnected. The exercise should be done at first slowly, then with increased speed. When applying this to a piece, select one if possible which has a similar beat. For example, Schumann's From Foreign Parts, or in a more popular style, Thome's Simple Confession, or Schytte's Harp Player. The teacher should play a succession of chords using this syncopated pedal, purposely allowing the pedal to blur one of the chords with another. The pupil should be able EALS, BRAIN AND FIXGERS 85 to tell which one it is, and whether it is corrected or not the next time it is played. Even with an advanced pupil, it will often be found quite as necessary for him to be trained to listen carefully for clearness of pedaling. Not only should the teacher play for him to listen to the pedaling, but the pupil should be made to stop after each changing of the pedal, listen to what he has played, and be able to tell whether the pedaling was right. The following compositions are well adapted to the study of the pedal. MacDowell's Wild Rose; Schumann's Romanze in F sharp; Rubinstein's Barcarolle in G minor', Liszt's Transcriptions of Schubert Songs. The hearing of the following examples of pedal effects is not only for the purpose of stimulating the player's ability to hear his own pedaling, but also to gain the concentration necessary to hear such effects when they are made by others. Modern pianists offer so many and such varied pedal effects, that a keen ear is necessary in order to appreciate and understand them. Pedaling has developed and changed within a few years, and is now a fine art. The use of the pedal to connect tones which cannot be connected by the hands, is so common that it should be made apparent to the ear. For instance, Debussy's Clair deLune: or the Chopin Scherzo in B minor: ^iHt-j- =4=^ == The connection of the fundamental tone with the pedal is very important. Chopin's Nocturne in D flat: 86 EARS, BRAIN AND FINGERS or the Schubert Impromptu No. 3: These should be played first without pedal, that the dryness of the figure when without the blending of the pedal, may be heard. Then should be played with a blurred pedaling, with too little pedal, etc., and also correctly, that the ear may be trained to hear why the incorrect pedaling was not good and just where the pedal was taken. This sharpens the ear for the sustaining of the fundamental tone, and to a quicker perception of poor pedaling. A pupil may be able to follow pedal marks and be able to use the pedal "by sight" tolerably well. But unless he learns to hear why the pedal is so taken and to feel within himself the need of having it so done, he has gained little or nothing which will help him to pedal another composition well. Other examples of this point are: Chanson Triste, by Tchaikovsky, and Preludes, Nos. 1,7, 15 and 17 by Chopin. Another example of the connection of the funda- mental tone is illustrated in the following measures. Here is presented the problem of the fundamental as a part of an arpeg- giated chord, which is of too great a stretch for the ordinary hand to reach. In such cases, the fundamental tone is really played at the last of the preceding measure, and is immediately caught by the pedal, while the top of the arpeggiated chord comes in with the right hand. For example: Heller, Prelude, Op. 81, N 1 is played EARS, BRAIX A\D FINGERS 87 The pupil should be able to hear where the pedal was taken, when used correctly, and to tell when and why it was correct when done in the first manner. Similarly in Mendelssohn's Spinning Song: See also Chopin's Prelude, No. 23, and Rubinstein's Melody in F. THE USE OF THE PEDAL FOR TONE COLOR AND SHADING Innumerable examples of this use of the pedal can be found, and should be given in the ear training work, in order to develop a greater sensitiveness to phrasing and what is commonly known as "expression." As the pedal is such an important factor in aiding the pianist to color the tone, and give expressiveness to his playing, it is necessary for him to be able to hear the effects himself before he can expect to make them heard by others. One of the most simple but effective means is to give the im- pression of crescendo and diminuendo by the use of the pedal. The passage is really played crescendo with a sudden pianissimo following it. The pedal, being held, retains the tone of the cres- cendo, and gives the effect of steadily diminishing tones. For example: . Mozart, Fantasie in D minor 88 EARS, BRAIN AND FINGERS In simple form, Kullak's Nightingale: Knllak, "Nightingale" - The following passage is from Liszt's Bird Sermon: Liszt, "Bird Sermon" Play these and similar examples without pedal, with pedal but without diminuendo, and then with the above effect, and be able to hear the difference. See also the Alabieff-Liszt Nightingale (cadenza), and the Beethoven Sonata, Gp. 27, No. 2 (first move- ment, measures 35-38). Similar to this is the sustaining of the harmonic structure of a passage by the pedal, allowing the harmony to sound throughout the passage and giving it a veiled effect. Mozart, Fantasie in D minor Jf* ft The Dominant arpeggio completely veils the by-tones in the second measure, making the Dominant character of the passage clear to the listener. Play this without pedal and also with other pedalings to distinguish the difference. See also, Heller, Prelude, Op. 81, No. 3 (measures 61-68); Schubert-Liszt, Fruhlingsglaube EARS, BRAIN AND FINGERS 89 (cadenza); Glazounow, La Nuit (first four measures); Rachman- inoff, Barcarolle, Op. 10 (beginning at sixth measure from the end); Scriabine, Nocturne for the left hand alone (cadenza). The modern French school of composition offers a great many examples of such veiled passages. For example: Debussy/'Reflets dans 1'eau" A somewhat different effect, though it is an illustration of the same principle, is that of a passage purposely blurred by the pedal but which is suddenly cleared up at the conclusion. Beethoven, Sonata Op.il, N? 2 90 EARS, BRAIN AND FINGERS Schumann, Carnaval. (Promenade, last two measures): Schumann, "Car naval, Promenade" A. m ^ In simple form, Kullak's Ghost in the Chimney: P The hearing of the use of the pedal for the purpose of intensifying an accent, and at the same time joining two tones so that they form a slur, is illustrated by examples such as the following: Tchaikovsky, Romance in F minor Chopin, Ballade in G minor &j rr^rj P = See also the Schubert Impromptu, Op. 90, No. 2, (fifteenth measure from the end). In all of these example?, the student should be able to hear them with more than one kind of pedaling. EARS, BRAIN AND FINGERS 91 In brilliant scale passages, the pedal may be used, provided the toot is removed from the pedal immediately at the end of the pass- age. Such passages should be illustrated first,, without pedal; second, with the pedal held overtime; third, with it changed once or twice during the passage; and fourth, held through just to the end, as stated above. Binding, Fruehlingsrauschen (short scale passages in L. H.); MacDowell, Polonaise (first measure); Leschetizky, Etude Hcroique (measures 23, 24, and 39, 40); Cyril Scott, Danse Negre (end); Chopin, G minor Ballade (end), and Etude, Op. 25, No. 11 (end); Brahms, Rhapsody, Op. 79, No. I. These examples are only a very few of the simple pedal effects, selected with the idea of giving pupils practice in hearing them, and to develop ideas of their own on those lines. Teachers will find this work interesting to be done in classes. Pupils can prac- tise listening to them by playing examples for each other. MEMORIZING The necessity for special development of the intellectual side of musical memory was touched upon in Chapters V and VI in relation to children's work. For pupils a little older, a composition like the Ph. Em. Bach Solfeggietto offers excellent material for the foundation of harmonic memorizing. As soon as the pupil knows the Tonic, Dominant, and Sub-Dominant chords, he can apply his knowledge directly to the first line of this composition, and can realize the use of the Tonic and Dominant chords in it. Another composition which offers excellent material for the foundation of harmonic memorizing is the Pres d'un Ruisseau by Karganoff. Take the first page for example: Karganoff "Pres d'un Ruisseau r> 92 EARS, BRAIN AND FINGERS I Sa V 7 of G The pupil should first analyze it harmonically. Then in his practice, he should play slowly enough to be able to think of this underlying Harmony as he plays, and to hear it at the same time: -DlJ V 7 I G major I ^ 1 He should be careful to hear and see these chords before he plays them. In this way, the thought guides the fingers instead of the fingers playing automatically. For instance, before he begins playing the piece, he should see on the keyboard the Tonic chord of G major in these positions: While he is playing measures three and four, he should see the Dominant Seventh chord as it looks on the keyboard, and fully EARS, BRAIN AND FINGERS 93 realize that this is the Harmony which he is to play next: This process continues throughout the piece. This development of the intellectual influence on the memory is of great importance in that it helps the memory to stand the test of nervousness better than anything else. When nervousness at- tacks a person who is playing in public, if he has not memor- ized with any definite thought in mind, he begins for the first time to use his brain with reference to the details of what he is playing. "How does it begin?" "how does it go here?" "what comes next?" etc., all of these questions were not thought of in his practice. This using of his brain at the last moment, makes it a power for confusion rather than for security, so that a lapse of memory is the result. If the mental conception of the composition is developed in his daily practice, the player is so sure of himself that he is able to control his thoughts in spite of nervousness. The ability to memorize in this way cannot be built up in a day. The process may be likened to that followed in learning a foreign language. At first, the vocabulary of new expressions is spoken necessarily slowly. But as these new expressions become more natural, and a matter of routine, and the vocabulary is enlarged, one thinks in the new idiom and becomes master of the language. So it is with the process of harmonic memorizing. The vocabulary necessary to think quickly in music is founded on Harmony. A child learns a new language almost unconsciously. Conse- quently, the sooner a vocabulary of chords is given to a child, the more natural harmonic analysis and memorizing will become for him. Until a student has a good knowledge of chords, the process of thinking of them when playing by memory will be slow. The important points in this kind of memorizing are, the ability to see and hear the underlying Harmony of a composition; EARS, BRAIN AND FINGERS to think of this harmonic structure before playing it; and to retain the melodic line of the composition at the same time. When this power of thinking ahead has been gained, a quality of mental control is given to the playing, of which even the uninitiated listener is conscious. The following is a list of compositions especially adapted for the development of memorizing in this way. Medium Grade of Difficulty: Ph. Em. Bach, Solfeggietto. Bach, Eighth Invention. Beethoven, Rondo in C major. do. Andante from Sonata, Op. 14, No. 2. Heller, Preludes, Op. 81, Nos. 1,2,3, and 15. Karganoff, Pres d'un Ruisseau. Rubinstein, Polka Boheme. Mozkowski, Scherzino in F major. Leschetizky, Wellen und Wogen. Advanced: Bach, Beethoven, Beethoven, Chopin, Schubert-Fischof, Sinding, Glazounow, Preludes, Nos. 1, 4, 15, and 20. Adagio cantabile from Sonata, Op. 13. Rondo a Capriccio. Etudes, Op. 25, Nos. 1, 2, and 3. Ballet Music "Rosamunde." Goblin. Gavotte in D major. Gluck-Saint-Saens, Alceste. CHAPTER XVIII. SOME USEFUL HINTS In conclusion, a few remarks calling attention to some features of the work may be helpful to both teachers and students. As was stated in Chapter V, the first object that we work for in technic, is getting the tone placed, that is, getting the playing ap- paratus so accustomed to the correct position and so perfectly relaxed, that pure finger action becomes possible. As soon as a slight proficiency has been attained, so that a simple Etude or two can be played with these conditions main- tained, the p*upil should apply this "finger action" to pieces. It is much better for his musical development for him to begin to play something, instead of developing the purely technical side to a high degree before applying it to real music. If one waits too long before applying the work to compositions, the playing becomes stiff and unnatural, savoring too much of "method." Furthermore, technic, in the broad sense, is not purely mechanical; there is an intellectual and musical technic as well, which can be acquired and developed only from music. One must be prepared to expect the following symptoms in this first application of the technic. The first pieces cannot be said to be interpreted: the tone is small, uncertain, wabbly, and on the surface of the keys. One thinks rather of a child tottering along by aid of a chair, than of a person making firm, rapid strides, but we all are obliged to take OUT first steps in this way. As the technical work goes on, and the fingers gain in firmness and strength from the daily practice, a little more surety creeps in, the key is pressed more firmly to its full depth, and the listener catches a glimpse of some attempts at tone coloring. Next a smooth, singing legato begins to appear, and an accent now and then comes in to enliven the scene and give variety. 95 96 EARS, BRAIN AND FINGERS The fine points of artistic accentuation, of course, must be left for later study. By this time the pupil becomes able to make the musical architecture plain. By this remark is meant that he eliminates the painful distinctness of the measures, and begins to make it possible tor one to hear the phrase and sentence. It is too soon, however, for elasticity of rhythm to be safe, for any use of it at this stage necessarily becomes an abuse. When the pupil is sure enough of finger action to be able to make use of the depression of the wrist as a means of giving variety in tone color, that feature is brought in, and also the use of the arm in producing a broad and beautiful tone. This is of the greatest importance. Without the free use of the upper arm there can be no modern pianism. Orchestral effects are now required of pianists. The old school of dry finger action with its pedantic effects of loud a*id soft, fast and slow, in studied alternation, and its limited use of the pedal, has passed away. Unless the fingers have the strength and skill to make a reson- ant, singing tone, and firmly grasp the chords, unless there is a proper use of the arm to give volume of tone, how can the pianist hope to even suggest the brilliancy of an orchestra with its singing violins, cellos, and sonorous instruments? As the player gains greater skill in using his tone colors he can begin to pay attention to musical perspective. Here comes in one of the greatest differences between the amateur and the artist. The amateur is so conscious of every little detail that he brings everything out with painful distinctness. The result is thr,t unimportant figures assume undue prominence in the musical picture. The wild rose bush, growing at the foot of the mountain, towers up as high as the mountain peak. The grass on the lawn grows as high as the tree tops. In his effort to make everything stand out, nothing stands out. The result is just a grotesque con- glomeration, with everything out of proportion. It is only after the player has become developed artistically, that he can use the musical discrimination necessary to the adjustment of the per- EARS, BRAIN AND FINGERS 97 spective, and learn to give each composition its fitting character, keeping everything in the right proportion. To reach the point where there is sufficient art to conceal art is not an easy matter. Any evidence of method takes away from the artistic effect. An orator could not hope to impress his hearers if his pronun- ciation were slovenly and incorrect, his voice inadequate, and his gestures unfitting; but if he appears before an audience with a painfully distinct enunciation, self-conscious gestures, and studied tones, he becomes ludicrous. His message has lost its meaning. The pianist (whose work is necessarily more artificial than that of one using our natural method of conveying thoughts), must take the greatest pains to conceal the process by which he makes use of an unnatural, intangible way of imparting ideas. He should devote a certain amount of time daily to the work of interpretation, crowding out of his mind all thought of method, giving heed only to the meaning he wishes to convey. This neg- lect of regard for details will be offset by the careful attention given to them in the other practising. By carrying on the two kinds of work simultaneously he will achieve the technic which is- unconscious, and the interpretation which reveals the ideas and emotions of the composer. The time has passed when the pianist can dazzle by mere technical display. The world calls for more. It demands that he should have something to say. The time has passed when mere criticism will pass for good teaching in any line of music. It is the teacher who gives his pupils breadth of musician- ship and the training which enables them to help themselves, who is now recognized. Modern progress has made it imperative for us to put forth every effort to get that which is vital. It is that which will make the art of music mean more to all of us. 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A val- uable guide and assistant to students who wish to gain a knowledge of the proper blending of orchestral instruments, their compass, capabilities, etc 1 50 Lessons in Music Form. Percy Goetschius, Mus. Doc. A manual of analysis of all the structural factors and designs employed in musical composition 1 50 Musical Forms. Ernest Pauer. A compendium of the various styles or species of composition with analysis of their structure 1 50 Sound and Its Relation to Music. Clarence G. Hamil- ton, A.M. A handbook of acoustics as relating to music. Based on the latest discoveries and experiments. Fully illustrated 1 50 CONDUCTING, HISTORY, MUSIC APPRECIATION AND DEFINITIONS Essentials in Conducting. Karl W. Gehrkens, A.M. On personal requirements, technic of the baton, interpretation, rehearsing, program making, etc. 1 50 Outlines of Music History. Clarence G. Hamilton, A.M. A compact, clearcut work for class use and the general reader. Fully illustrated 1 75 Music Appreciation. Clarence G. Hamilton, A.M. Based on methods of literary criticism, this unique text-book is for those who wish to listen to music with quickened hearing and real understanding. With 24 portraits, 28 diagrams and over 200 music cuts 1 75 Music Club Programs from All Nations. Arthur Elson. Outlines the various schools from all nations with a rich series of programs and over one hundred por- traits 1 75 Some Essentials in Musical Definitions. M. F. Mac- Connell. A manual of definite information con- cerning the points every music .student should be f 1 oc sure of The Musicians Library C,This notable series has been planned to embrace all the master- pieces of song and piano literature ; to gather into superbly made volumes of uniform size and binding the best work of the best com- posers, edited by men of authority. Each volume is independent, complete in itself, and sold by itself. PIANO VOLUMES BACH PIANO ALBUM. Vol. I. Shorter Compositions Dr. Ebenezer Prout BACH PIANO ALBUM. Vol. II. Larger Compositions Dr. Ebenezer Prout BEETHOVEN PIANO COMPOSITIONS. Vols. I and H Eugen d'Albert BRAHMS, JOHANNES. Selected Piano Compositions Raphael Joseffy CHOPIN, FREDERIC. Forty Piano Compositions James Huneker CHOPIN, FREDERIC. The Greater Chopin James Huneker GRIEG, EDVARD. Larger Piano Compositions Bertha Feiring Tapper GRIEG, EDVARD. Piano Lyrics and Shorter Compositions Bertha Feiring Tapper HAYDN, FRANZ JOSEF. Twenty Piano Compositions Xaver Scharwenka LISZT, FRANZ. Ten Hungarian Rhapsodies August Spanuth and John Orth LISZT, FRANZ. Twenty Original Piano Compositions August Spanuth LISZT, FRANZ. Twenty Piano Transcriptions August Spanuth MENDELSSOHN, FELIX. Thirty Piano Compositions { ^i&^gSS'&Z^^ MOZART, WOLFGANG AMADEUS. Twenty Piano Compositions Carl Remecke SCHUBERT, FRANZ. Selected Piano Compositions August Spanuth SCHUMANN, ROBERT. Fifty Piano Compositions Xaver Scharwenka WAGNER, RICHARD. Selections from the Music Dramas Otto Singer ANTHOLOGY OF FRENCH PIANO MUSIC. Vol. I. Early Composers ) TclMnr P u: )ir , r Vol. n. Modern Composers J lsl ANTHOLOGY OF GERMAN PIANO PIANO MUSIC. Vol. I. Early Composers I :* Mnc,w.-ci.-; Vol. n. Modern Composers f M EARLY ITALIAN PIANO MUSIC M. Esposito TWENTY-FOUR NEGRO MELODIES Transcribed for Piano by S. Coleridge-Taylor Each volume in heavy paper, cloth back, $1.75; in fu'll cloth, gilt, $3.00. Copies mailed postpaid. Other volumes in preparation. Booklets, giving full particulars, with portraits of Editors and contents of volumes published, FREE on request. NOTE. These works will be sent with return privilege to those with accounts in good standing, and to those with no accounts upon receipt of price, which will be returned, less postage, if not satisfactory. Write for particulars of our Easy Payment Plan. OLIVER DITSON COMPANY. Boston CHAS. H. DITsON & CO., New York LYON & HEALY, Chicag- C.This notable series has been planned to embrace all the master- pieces of song and piano literature ; to gather into superbly made volumes of uniform size and binding the best work of the best com- posers, edited by men of authority. Each volume is independent, complete in itself, and sold by itself. SONG VOLUMES Editedby BRAHMS, JOHANNES. Forty Songs. High Voice. Low Voice James Huneker FRANZ, ROBERT. Fifty Songs. High Voice. Low Voice William Foster Apthorp GRIEG, EDVARD. Fifty Songs. High Voice. Low Voice Henry T. Finck HANDEL, GEORGE FRIDERIC. Vol. I. Songs and Airs for High Voice > ^ Vol. II. Songs and Airs for Low Voice $ El JENSEN, ADOLF. Forty Songs. High Voice. Low Voice William Foster Apthorp LISZT, FRANZ. Thirty Songs. High Voice. Low Voice Carl Armbruster SCHUBERT, FRANZ, Fifty Songs. High Voice. Low Voice Henry T. Finck SCHUMANN, ROBERT. Fifty Songs. High Voice. Low Voice W.J.Henderson STRAUSS, RICHARD. Forty Songs. High Voice. Low Voice James Huneker TCHAIKOVSKY, P. I. Forty Songs. High Voice. Low Voice James Huneker WAGNER, RICHARD. Lyrics for Soprano Carl Armbruster WAGNER, RICHARD. Lyrics for Tenor Carl Armbruster WAGNER, RICHARD. Lyrics for Baritone and Bass Carl Armbruster WOLF, HUGO. Fifty Songs. High Voice. Low Voice Ernest Newman FIFTY MASTERSONGS. High Voice. Low Voice Henry T. Finck FIFTY SHAKESPEARE SONGS. High Voice. Low Voice Charles Vincent, Mus. Doc. MODERN FRENCH SONGS. Vol. I. Bemberg to Franck ) p , High Voice. Low Voice. Vol. II. Georges to Widor J r " ONE HUNDRED FOLKSONGS OF ALL NATIONS. Medium Voice Granville Bantock ONE HUNDRED SONGS OF ENGLAND. High Voice. Low Voice Granville Bantock SEVENTY SCOTTISH SONGS. High Voice. Low Voice Helen Hopekirk SIXTY FOLKSONGS OF FRANCE. Medium Voice Julien Tiersot SIXTY PATRIOTIC SONGS OF ALL NATIONS. Medium Voice Granville Bantock SONGS BY THIRTY AMERICANS. High Voice. Low Voice Rupert Hughes SONGS FROM THE OPERAS FOR SOPRANO H. E. Krehbiel SONGS FROM THE OPERAS FOR MEZZO-SOPRANO, H. E. Krehbiel SONGS FROM THE OPERAS FOR ALTO H. E. Krehbiel SONGS FROM THE OPERAS FOR TENOR H. E. Krehbiel SONGS FROM THE OPERAS FOR BARITONE AND BASS H. E. Krehbiel Each volume in heavy paper, cloth back, $1.75; in full cloth, gilt, $3.00. Copies mailed postpaid. Other volumes in preparation. Booklets, giving full particulars , with portraits of Editors and contents of volumes published, FREE on request. NOTE. These works will be sent with return privilege to those with accounts in good standing, and to those with no account upon receipt of price, which will be returned, less postage, if not satisfactory. Write for particulars of our Easy Payment Plan. OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO., New York LYON& HEALY, Chicago University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which it was borrowed. 3 019961 EIVED MAY 7 1996 SEL/EMS LIBRARY UNIV. OF CALIF LIBRARY, LOS ANGELES MT 224 W36 Universit Southe Libra