The Two Hands Playing Different RhythmsHow should, in Chopin's Fantasy Impromptu, the four notes of the right be played to the three of the left? Is an exact division possible?An exact division would lead to such fractions as the musician has no means of measuring and no terms for expressing. There is but one way to play unequal rhythms simultaneously in both hands; study each hand separately until you can depend upon it, and put them together without thinking of either rhythm. Think of the points where the two hands have to meet, the "dead points" of the two motions, and rely on your automatism until, by frequent hearing, you have learned to listen to two rhythms at once.The Old Problem of Duple Time Against TripleHow should the above-quoted notes be brought in with the lower triplets?It would be futile to attempt a precise and conscious division in such cases. The best, in fact, the only, way to do is to practise the hands separately with an exaggerated accent on each beat until the points where the hands meet are well conceived and the relative speed ratios are well understood. Then try to play the hands together, and do not be discouraged if the first attempts fail. Repeat the trial often and you will finally succeed if the separate practice has been sufficient to produce a semi-automatic action of the hands.PHRASINGThe Value and Correct Practice of PhrasingCan you give an amateur a concise definition of phrasing and a few helpful suggestions as to clear phrasing?Phrasing is a rational division and subdivision of musical sentences, and serves to make them intelligible. It corresponds closely with punctuation in literature and its recitation. Find out the start, the end, and the culminating point of your phrase. The last-namedis usually to be found upon the highest note of the phrase, while the former are usually indicated by phrasing slurs. Generally speaking, the rising of the melody is combined with an increase of strength up to the point of culmination, where, in keeping with the note design, the decrease of strength sets in. For artistic phrasing it is of the utmost importance properly to recognize the principal mood of the piece, for this must, naturally, influence the rendition of every detail in it. A phrase occurring in an agitated movement, for instance, will have to be rendered very differently from a similar-looking phrase in a slow, dreamy movement.Do Not Raise Wrist in Marking a RestIn observing a rest should the hand be raised from the wrist?Never! Such a motion should be made only in rapid wrist octaves or other double notes when a staccato is prescribed. The regular way to conclude a phrase, or observe a pause, as you say, is to lift the arm from the keyboard and keep the wrist perfectly limp, so that the arm carries the loosely hanging hand upward.RUBATOAs to Playing RubatoWill you please tell me what is the best method of playing rubato?The artistic principles ruling rubato playing are good taste and keeping within artistic bounds. The physical principle is balance. What you shorten of the time in one phrase or part of a phrase you must add at the first opportunity to another in order that the time "stolen" (rubato) in one place may be restituted in another. The æsthetic law demands that the total time-value of a music piece shall not be affected by any rubato, hence, the rubato can only have sway within the limits of such time as would be consumed if the piece were played in the strictest time.How to Play Passages Marked "Rubato"I find an explanation oftempo rubatowhich says that the hand which plays the melody may move with all possible freedom, while the accompanying hand must keep strict time. How can this be done?The explanation you found, while not absolutely wrong, is very misleading, for it can find application only in a very few isolated cases; only inside of oneshort phrase and then hardly satisfactorily. Besides, the words you quote are not an explanation, but a mere assertion or, rather, allegation.Tempo rubatomeans a wavering, a vacillating of time values, and the question whether this is to extend over both hands or over only one must be decided by the player's good taste; it also depends upon whether the occupation of the two hands can be thought of as separate and musically independent. I assume that you are able to play each hand alone with perfect freedom, and I doubt not that you can, with some practice, retain this freedom of each hand when you unite them, but I can see only very few cases to which you could apply such skill, and still less do I see the advantage thereof.Perfect Rubato the Result of Momentary ImpulseIn playingrubatodo you follow a preconceived notion or the impulse of the moment?Perfect expression is possible only under perfect freedom. Hence, the perfectrubatomust be the result of momentary impulse. It is, however, only a few very eminent players that have such commandover this means of expression as to feel safe in trusting their momentary impulses altogether. The average player will do well carefully to consider the shifting of time values and to prepare their execution to a certain degree. This should not, however, be carried too far, as it would impair the naturalness of expression and lead to a stereotyped mannerism.The Difference Between Conception and RubatoIs there any difference between conception andrubato?Conception is a generic term and comprises the service of each and all means of expression, among whichrubatoplays a somewhat prominent part. For it is, so to speak, the musical pulse-beat of the player. Being subordinate to conception, its function and manner must be governed by the latter.CONCEPTIONDifferent Conceptions May be Individually CorrectCan one and the same phrase be conceived differently by different artists and still be individually correct in each instance?Certainly! Provided that—whatever the conception be—it preserves thelogical relations of the parts in building up the phrase, and that it is carried through the whole course of the piece in a consistent manner. Whether a certain conception of a phrase is or is not compatible with the general character of the piece and how far the freedom of conception may extend, it will be for the æsthetic training and the good taste of the player to determine for each and every case separately.Which Should Come First—Conception or Technique?In the first attempts at a new piece must matters of conception be observed at once or only after the piece has been technically mastered?Unless one is a very experienced reader it will be hardly possible to think of matters of conception until the technical means to express them and the necessary perspective of the piece have been gained. It is always safer first to make sure that the notes as such, and their respective times value have been read correctly, and that the technical difficulties have, to a fair degree, been overcome. This done, the question must be settled as to whether the general characterof the piece is dramatic,i. e., tragic or conciliatory, melancholy, lyric, rhapsodic, humorous, or changeable, and so forth. Only when our mind on this point is made up with the utmost definiteness, can we approach the details that are conditioned by the conception.FORCE OF EXAMPLEHearing a Piece Before Studying ItShould a pupil hear a piece played before studying it?If the pupil's imagination needs stimulation he should hear the piece well played before studying it. If, however, he is merely too lazy to find out the rhythm, melody, and so forth, and rather relies upon his purely imitative faculty, he should not hear it, but be compelled to do his own reading and thinking.THEORYWhy the Pianist Should Study HarmonyDo you recommend the study of harmony and counterpoint to the piano student?By all means! To gain a musical insight into the pieces you play you must be able to follow the course of their harmonies and understand the contrapuntal treatment of their themes. Withoutthe knowledge gained through a serious study of harmony and counter-point your conceptions will be pure guesswork and will lack in outline and definiteness.Why so Many Different Keys?Why is it supposed to be necessary to have fifteen keys to complete the circle of fifths? Why would not twelve suffice, and thus avoid duplicate keys?Not fifteen, but twenty-five tonalities complete the circle of fifths, theoretically, and they are all necessary because of the many harmonic turns that occur in modern music and which could not be intelligently demonstrated unless we use the tonalities with seven, eight, nine or more sharps and flats. For otherwise we might have to change the signature so frequently as to become utterly confusing to even the most musicianly reader. C-sharp minor has but four sharps, yet the scale of its dominant (its next relative) has eight sharps.The Relation of Harmony to Piano-PlayingIs it absolutely necessary for me to study harmony in connection with my piano? My teacher wants me to do it, but I don't see the use! Of what benefit is harmony?Of what benefit is the general school-work a child has to go through? To play the piano well a good hand and so many hours of practice are not sufficient; it requires a general musical education. This means, first and foremost, a knowledge of harmony, to which you may later add the study of counterpoint and forms. Your teacher is absolutely right.Text-Books on HarmonyWould you care to recommend two or three of the best books on the study of harmony?The doctrine of harmony is ever the same, but the modes of teaching it are constantly changing and, I trust, improving. For this reason I feel a certain hesitation in recommending at this time the text-books which I studied many years ago, especially as I am not certain that they have been translated into English. I advise you, therefore, to inquire of some good teacher of harmony or, at least, of a reliable music publisher or dealer. E. F. Richter and Bussler wrote works of recognized merit, which, though no longer modern, may be safely studied.Learning to ModulateIs it possible to learn modulating from a book without the aid of a teacher, so as to connect two pieces of different tonality?Possible, yes, but not probable; for since in your written exercises you are likely to err at times, you will need some one to point out your errors and so show you the way to correct them. Generally speaking, I do not think much of studying the rudiments of anything without the aid of an experienced adviser.Studying Counterpoint by One's SelfIs it possible to study counterpoint without a teacher, and, if so, what book can you recommend for its study?It is quite possible, provided you are certain never to misunderstand your text-book and never to commit any errors. Otherwise you will need the advice of an experienced musician in correcting them. A good teacher, however, is always better than a book for this study. Of text-books there are a great many. Any reliable music house will furnish you with a list of them.Should Piano Students Try to Compose?Besides my study of the piano shall I try to compose if I feel the inclination and believe I have some talent for it?The practice of constructing will always facilitate your work of reconstructing, which is, practically, what the rendition of a musical work means. Hence, I advise every one who feels able to construct even a modest little piece to try his hand at it. Of course, if you can write only a two-step it will not enable you to reconstruct a Beethoven Sonata; still, there may be little places in the Sonata that will clear up in your mind more quickly when you have come in touch with the technical act of putting down on paper what your mind has created, and you will altogether lose the attitude of the absolute stranger when facing a new composition. Do not construe this, however, as an encouragement to write two-steps!The Student Who Wants to ComposePlease advise me as to the best way of learning composition. Which is the best work of that kind from which I could learn?First learn to write notes. Copyingall sorts of music is the best practice for that. Then study the doctrine of harmony. Follow it up by a study of the various forms of counterpoint. Proceed to canon in its many kinds and intervals. Take up the fugue. Then study forms until you learn to feel them. Books for every one of these stages there are many, but better than all the books is a good teacher.The Difference Between Major and Minor ScalesWhat is the difference between the major and minor scale? Does it lie in the arrangement of semitones or in the character, or in both?There are three differences: First, in the arrangement of the semitones; second, in the character; and, third, in the circumstance that the minor scale admits of a number of modifications for melodic purposes which cannot be made in the major scale.There is Only One Minor ScaleWhich is the true minor scale, the melodic or the harmonic? My teacher insists upon the harmonic, but it sounds ugly to me. Will you please tell me something about it?There is but one minor scale; it is the one upon which the chords of its tonality are built; it is the one upon which your teacher wisely insists, because the so-called melodic minor scale offers no new intervals to your fingers, and because the term melodic minor scale is applied to that form of deviation from the real scale which is most frequently used, but which is by no means the only deviation that is possible; nor is it the only one in use.What is the Difference Between the Major and Minor Scales?What is the difference between the major and minor scales?The major scale has a major third and sixth, while the minor scale has a minor third and sixth and raises its seventh to a major seventh by an accidental elevating sign, raising a natural note by a sharp, and a flat note by a natural. If you begin your major scale upon its sixth degree and, counting it as the first of the minor, raise the seventh, you obtain the minor scale, in which, however, many modifications are admissible for melodic (though not for harmonic) purposes.How Waltz, Menuet, Mazurka, and Polonaise DifferAs a waltz and a menuet are both in three-fourth time, is it only the tempo in which they differ, or are there other differences?Waltz, menuet, mazurka, and polonaise are all in three-fourth time and are not confined to a definite tempo. The difference between them lies in the structure. A waltz period—that is, the full expression of a theme—needs sixteen measures; a menuet needs only eight, a mazurka only four measures. In a mazurka a motive occupies only one measure, in the menuet two, and in the waltz four. The polonaise subdivides its quarters into eighths, and the second eighth usually into two sixteenths; it differs, therefore, from the other three dances by its rhythm.The Meaning of "Toccata"What is the meaning of the word "Toccata"? I do not find it in the Italian lexicon and the English musical dictionaries differ widely in their definitions. None of their definitions seems to apply to the Toccata by Chaminade.To make the matter quite plain let me say, first, that "Cantata" (fromcantare—to sing) meant in olden times a music piece to be sung; while "Sonata" (fromsuonare—to play) designated a piece to be played on an instrument; and "Toccato" meant a piece for keyboard instruments like the organ or piano and its precursors, written with the intention of providing special opportunities for the display of the skill of touch (fromtoccare—to touch) or, as we would now say, finger technique. The original meanings have changed so that these terms now imply definite forms, like the modern Cantata and Sonata. The Toccata is, at present, understood to be a piece in constant and regular motion, very much like those that are called "moto perpetuo" or "perpetual motion," of which Weber's "Perpetuum mobile" is a good example. I have no doubt that the Toccata by Chaminade, which I do not know, is written on similar lines.THE MEMORYPlaying from Memory Is IndispensableIs memorization absolutely essential to a good player?Playing from memory is indispensable to the freedom of rendition. You haveto bear in your mind and memory the whole piece in order to attend properly to its details. Some renowned players who take the printed sheets before them on the stage play, nevertheless, from memory. They take the music with them only to heighten their feeling of security and to counteract a lack of confidence in their memory—a species of nervousness.The Easiest Way to MemorizeWill you please tell me which is the easiest way to memorize a piano piece?Begin by playing it a few times very carefully and slowly until you can play it with a fair degree of exactitude (you need not mind an occasional stopping). Then go over such places as appeared to you especially complex until you understand their construction. Now let the piece rest for a whole day and try to trace in your mind the train of thoughts in the piece. Should you come to a dead stop be satisfied with what you have achieved. Your mind will keep on working, subconsciously, as over a puzzle, always trying to find the continuation. If you find that the memory is a blanktake the music in hand, look at the particular place—but only at this—and, since you have now found the connection, continue the work of mental tracing. At the next stop repeat this procedure until you have reached the end, not in every detail, but in large outlines. Of course, this does not mean that you can nowplayit from memory. You have only arrived at the point of transition from the imagined to the real, and now begins a new kind of study: to transfer to the instrument what you have mentally absorbed. Try to do this piece by piece, and look into the printed sheets (which should not be on the music-rack but away from it) only when your memory absolutely refuses to go on. The real work with the printed music should be reserved to the last, and you should regard it in the light of a proof-reading of your mental impressions. The whole process of absorbing a piece of music mentally resembles that of photographing. The development of the acoustic picture (the tone-picture) is like the bath. The tentative playing is like the process of "fixing" againstsensitiveness to lights; and the final work with the printed music is the retouching.In Order to Memorize EasilyI find it very hard to memorize my music. Can you suggest any method that would make it easier?To retain in one's memory what does not interest one is difficult to everybody, while that which does interest us comes easy. In your case the first requirement seems to be that your interest in the pieces you are to play be awakened. This interest usually comes with a deeper understanding of music; hence, it may be said that nothing will assist a naturally reluctant memory so much as a general musical education. Special studies for the memory have not come to my knowledge because I never had any need of them. After all, the best way to memorize is—to memorize. One phrase today, another to-morrow, and so on, until the memory grows by its own force through being exercised.Memorizing Quickly and Forgetting as ReadilyI memorize very easily, so that I can often play my pieces from memory before I have fully mastered their technical difficulties, as my teachersays. But I forget them just as quickly, so that in a few weeks I cannot remember enough of them to play them clear through. What would you advise, to make my memory more retentive?There are two fundamental types of memory: One is very mobile—it acquires quickly and loses just as quickly; the other is more cumbrous in its action—it acquires slowly, but retains forever. A combination of the two is very rare, indeed; I never heard of such a case. A remedy against forgetting you will find in refreshing your memory in regular periods, playing your memorized pieces over (carefully) every four or five days. Other remedies I know not and I see no necessity for them.To Keep Errors from Creeping inI can always memorize a piece before I can play it fast. Do you advise practising with notes when I already know it by heart?The occasional playing of a memorized piece from the notes will keep errors from creeping in, provided you read the music correctly and carefully.SIGHT READINGThe Best Way to Improve Sight-ReadingIs there any practical method that will assist one to greater rapidity in sight-reading?The best way to become a quick reader is to read as much as possible. The rapidity of your progress depends upon the state of your general musical education, for the more complete this is the better you will be able to surmise the logical sequel of a phrase once started. A large part of sight-reading consists of surmising, as you will find upon analyzing your book-reading.To Gain Facility in Sight-ReadingWhat is a good plan to pursue to improve the facility in sight-reading?Much reading and playing at sight and as fast as possible, even though at first some slight inaccuracies may creep in. By quick reading you develop that faculty of the eye which is meant by "grasp," and this, in turn, facilitates your reading of details.ACCOMPANYINGLearning To Accompany at SightHow can one learn to accompany at sight?Develop your sight-reading by playingmany accompaniments, and endeavour—while playing your part—also to read and inwardly hear the solo part.The Art of Accompanying a SoloistHow should one manage the accompaniment for a soloist inclined to play rubato?Since you cannot make a contract of artistically binding force with a soloist you must take refuge in "following." But do not take this word in its literal meaning; rather endeavour to divine the intentions of your soloist from moment to moment, for this divining is the soul of accompanying. To be, in this sense, a good accompanist, one must have what is called in musical slang a good "nose"—that is, one must musically "scent" whither the soloist is going. But, then, the nose is one of the things we are born with. We may develop it, as to its sensitiveness, but we cannot acquire a nose by learning. Experience will do much in these premises, but not everything.Learning the Art of AccompanyingWishing to become an accompanist I anticipate completing my studies in Berlin. What salary might I expect and what would be the best "course" to pursue?An experienced and very clever accompanist may possibly earn as much as fifty dollars a week if associated with a vocal, violin, or 'cello artist of great renown. Usually, however, accompanists are expected to be able to play solos. There are no special schools for accompanists, though there may be possibly some special courses in which experience may be fostered. If you come to Berlin you will find it easy to find what you seem to be seeking.TRANSPOSINGThe Problem of Transposing at SightWhat, please, is the quickest and safest way of transposing from one key to another? I have trouble, for instance, in playing for singing if the piece is in A major and the singer wants it in F major.The question of transposing hinges on the process of hearing through the eye. I mean by this that you must study the piece until you learn to conceive the printed music as sounds and sound groups, not as key pictures. Then transfer the sound picture to another tonality in your mind, very much as if when moving from one floor to another withall your household goods you were to place them on the new floor as they were placed on the old. Practice will, of course, facilitate this process very much. Transposition at sight is based on somewhat different principles. Here you have to get mentally settled in the new tonality, and then follow the course of intervals. If you find transposition difficult you may derive consolation from the thought that it is difficult for everybody, and that transposing at sight is, of course, still more difficult than to transpose after studying the piece beforehand.PLAYING FOR PEOPLEWhen to "Play For People"During the period of serious study may I play for people (friends or strangers) or should I keep entirely away from the outside world?From time to time you may play for people the pieces you have mastered, but take good care to go over them afterward—the difficult places slowly—in order to eliminate any slight errors or unevenness that may have crept in. To play for people is not only a good incentive for further aspirations; it alsofurnishes you with a fairly exact estimate of your abilities and shortcomings, and indicates thereby the road to improvement. To retire from the outside world during the period of study is an outlived, obsolete idea which probably originated in the endeavour to curb the vanity of such students as would neglect their studies in hunting, prematurely, for applause. I recommend playing for people moderately and on the condition that for every such "performance" of a piece you play it afterward twice, slowly and carefully, at home. This will keep the piece intact and bring you many other unexpected advantages."Afraid to Play Before People"I can never do myself justice when playing for people, because of my nervousness. How can I overcome it?If you are absolutely certain that your trouble is due to "nervousness" you should improve the condition of your nerves by proper exercise in the open air and by consulting your physician. But are you quite sure that your "nervousness" is not merely another name for self-consciousness, or, worse yet, for a"bad conscience" on the score of technical security? In the latter case you ought to perfect your technique, while in the former you must learn to discard all thought of your dear self, as well as of your hearers in relation to you, and concentrate your thinking upon the work you are to do. This you can well achieve by will-power and persistent self-training.Effect of Playing the Same Piece OftenI have heard artists play the same piece year after year, and each time as expressively as before. After a piece has been played several hundred times it can hardly produce on the player the same emotional effect that it originally did. Is it possible for a player by his art and technical resources so to colour his tones that he can stimulate and produce in his audience an emotional condition which he himself does not at the time feel?In music emotion can be conveyed only through the means and modes of expression that are peculiar to music, such as dynamic changes, vacillations of tempo, differences of touch and kindred devices. When a piece is played in public very often on consecutiveoccasions—which artists avoid as much as they can—these expressions gradually assume a distinct form which is quite capable of preservation. Though it will in time lose its life-breath, it can still produce a deception just as (to draw a drastic parallel) a dead person may look as if he were only asleep. In this parallel the artist has, however, one great advantage. Since he cannot play a piece very often without having a number of errors, rearrangements, slight changes creeping into it, he must, in order to eliminate them and to cleanse the piece, return from time to time to slow practice in which he also refrains almost entirely from expression. When in the next public performance the right tempo and expression are added again they tend strongly to renew the freshness of the piece in the player's mind.The Pianist Who Fails to Express HerselfI love music dearly and my teacher is always satisfied with my lessons, but when I play for my friends I never make a success. They compliment me, but I feel that they do not care for my playing; even my mother says that my playing is "mechanical." How can I change it?It is just possible that your friends and your mother may not be amenable to the high class of music which you play, but if this is not the case your affliction cannot be cured offhand. If the lack of expression in your playing should emanate from a lack of feeling in yourself, then your case would be incurable. If, however, you play "mechanically" because you do not know how to express your emotions in your playing—and I suspect it to be so—then you are curable, although there are no remedies that would act directly. I suggest that you form close associations with good musicians and with lovers of good music. By looking well and listening you can learn their modes of expression and employ them first by imitation until the habit of "saying something" when you play has grown upon you. I think, though, that you need an inward change before there can be any outward change.The Art of Playing With FeelingIn the musical manifestations of feeling how does the artist chiefly differ from the amateur?The artist expresses his feelings with due deference to the canons of art. Above all, he plays correctly without allowing this ever-present correctness to make his playing seem lacking in feeling. Without unduly repressing or suppressing his individuality he respects the composer's intentions by punctiliously obeying every hint or suggestion he finds in the annotations, concerning speed, force, touch, changes, contrasts, etc. He delivers the composer's message truthfully. His personality or individuality reveals itself solely in the way he understands the composition and in the manner in which he executes the composer's prescriptions.Not so the amateur. Long before he is able to play the piece correctly he begins to twist and turn things in it to suit himself, under the belief, I suppose, that he is endowed with an "individuality" so strong as to justify an indulgence in all manner of "liberties," that is, licence. Feeling is a great thing; so is the will to express it; but both are worthless without ability. Hence, before playing with feeling, it were well to makesure that everything in the piece is in the right place, in the right time, strength, touch, and so forth. Correct reading—and not only of the notesper se—is a matter that every good teacher insists upon with his pupils, even in the earliest grades of advancement. The amateur should make sure of that before he allows his "feelings" to run riot. But he very seldom does.Affected Movements at the PianoIs there any justification for the swaying of the body, the nodding of the head, the exaggerated motion of the arms, and all grotesque actions in general while playing the piano, so frequently exhibited not only by amateurs but by concert players, too?All such actions as you describe reveal a lack of the player's proper self-control when they are unconsciously indulged in. When they are consciously committed, which is not infrequently the case, they betray the pianist's effort to deflect the auditors' attention from the composition to himself, feeling probably unable to satisfy his auditors with the result of his playing and, therefore,resorting to illustration by more or less exaggerated gesture. General well-manneredness, or its absence, has a good deal to do with the matter.ABOUT THE PIANO PER SEIs the Piano the Hardest to Master?Do you believe that the piano is the most difficult of all instruments to master—more so than the organ or the violin? If so, why?The piano is more difficult to master than the organ, because the tone-production on the piano is not so purely mechanical as it is on the organ. The pianist's touch is the immediate producer of whatever variety or colour of tone the moment requires, whereas the organist is powerless to produce any change of tone colour except by pulling a different stop. His fingers do not and cannot produce the change. As to string instruments, their difficulties lie in an entirely different field, and this fact precludes comparison with the piano. Technically, the string instrument may be more difficult, but, to become an exponent of musical art on the piano requires deeper study, because the pianist must presentto his hearers the totality of a composition while the string instruments depend for the most part upon the accompaniments of some other instruments.Piano Study for Conductor and ComposerBeing a cornet player, and wishing to become a conductor and composer, I should like to know if the study of the piano is necessary in addition to my broad, theoretical studies and a common college course.It depends upon what you wish to conduct and what to compose. With no other means of musically expressing yourself than a cornet it is highly improbable that you will be able to write or conduct a symphony. But you may be able to lead a brass band and, perhaps, to write a march or dance piece. If your musical aims are serious by all means take to the piano.Why the Piano Is So PopularWhy do more people play the piano than any other instrument?Because the rudimentary stages of music study are easier on the piano than on any other instrument. The higher stages, however, are so much more difficult, and it is then that the pianogets even with the bold aggressor. A violinist or 'cellist who can play a melody simply and with good tone is considered a fairly good amateur, for he must have mastered the difficulty of tone-production; he must have trained his right arm. A pianist who can play a melody equally well is the merest tyro. When he approaches polyphony, when the discrimination begins between the various parts speaking simultaneously, aye, then the real work begins—not to speak of velocity. It is, perhaps, for this reason that in reality there are a great many more violinists than pianists, if by either we mean persons who really master their instrument. The number of 'cellists is smaller, but the reason for this is to be found in the small range of 'cello literature and also, perhaps, in the comparative unwieldiness of the instrument, which does not admit of technical development as, for instance, the more handy violin. If all beginners at the piano realized what exasperating, harassing, discouraging, nerve-consuming difficulties await them later and beset the path to that mastery which so fewachieve, there would be far fewer piano students and more people would study the violin or the 'cello. Of the harp and the wind instruments I need not speak, because they are to be considered only in matters orchestral and not—seriously—as solo instruments.The Genuine Piano HandWhat shape of hand do you consider the best for piano playing? Mine is very broad, with rather long fingers.The best piano hand is not the popular, pretty, narrow hand with long fingers. Nearly all the great technicians had or have proportioned hands. The genuine piano hand must be broad, in order to give each finger a strong base for the action of its phalanges and to give this base space enough for the development of the various sets of muscles. The length of the fingers must be in proportion to the width of the hand, but it is the width which I consider most important.The Composition Must Fit the PlayerWould you advise players with small hands to attempt the heavier class of the compositions by Liszt?Never! Whether the hands are toosmall or the stretch between the fingers too narrow—if you attempt a piece which for these or other physical reasons you cannot fully master, you always run the serious risk of overstraining. This, however, should be most carefully avoided. If you cannot play a certain piece without undue physical strain, leave it alone and remember that singers choose their songs not because they lie within their compass, but because they suit their voice. Do likewise. Be guided by the nature and the type of your hand rather than by its rapidity of execution.The Best Physical Exercise for the PianistWhat physical exercises are most advantageous to be taken in connection with piano practice? I have been swinging clubs to strengthen wrists and arms, but have imagined it stiffened my fingers.I am inclined to think that what you imagined was not far from the truth. Can you not replace the real clubs by imaginary ones? Since club-swinging tends to develop the agility of the arms and wrists rather than their strength you can easily make the same motions without the clubs; for all exertion offorce that keeps the hands in a closed condition is bound to have a bad effect on piano playing. Undoubtedly the best exercise of all, however, is brisk walking in the open air, for it engages every part and every organ of the body, and by compelling deep breathing it fosters the general health through increased oxygenation.Horseback Riding Stiffens the FingersMy teacher objects to my riding horseback; not altogether, but he says I overdo it and it stiffens my fingers. Is he right?Yes, he is. Every abuse carries its own punishment in its train. The closed position of the hand, the pressure of the reins upon the fingers, as constant as it is the case in horseback riding, is surely not advantageous for the elasticity of the fingers. You should, therefore, allow the effect of one ride upon your fingers to disappear completely before you indulge in another.When to Keep Away from the PianoDo you think I should play and study the piano just because it is asked of me, and when I take no interest in it?Most emphatically, no! It would bea crime against yourself and against music. What little interest in music you may have left would be killed by a study that is distasteful to you, and this would be, therefore, bound to lead to failure. Leave this study to people who are sincerely interested in it. Thank heaven, there are still some of those, and there always will be some! Be sure, however, that you are really not interested, and discriminate well between a lack of interest and a mere opposition to a perhaps too strenuous urging on the part of your relatives. My advice would be to quit the study for a time entirely; if, after a while, you feel a craving for music you will find the way to your instrument. This advice, of course, holds good also for violin students or any type of music student.BAD MUSICThe Company That One Keeps in MusicMust I persist in playing classical pieces when I prefer to play dance music?If, in your daily life, you wish to be regarded as a lady or a gentleman you are obliged to be careful as to the company you keep. It is the same in musical life.If you associate with the noble thoughts that constitute good—or, as you call it, classical—music, you will be counted with a higher class in the world of music. Remember that you cannot go through a flour-mill without getting dusty. Of course, not all pieces of dance music are bad; but the general run of them are such poor, if not vulgar, stuff as hardly to deserve the name of "compositions." Usually they are mere "expositions" of bad taste. Of these I warn you for your own sake, and if you wish to avoid the danger of confounding the good and the bad in that line it is best to abstain from it entirely. If dance music it must be, why, have you never heard of the waltzes and mazurkas by Chopin?Why Rag-Time Is InjuriousDo you believe the playing of the modern rag-time piece to be actually hurtful to the student?I do, indeed, unless it is done merely for a frolic; though even such a mood might vent itself in better taste. The touch with vulgarity can never be but hurtful, whatever form vulgarity may assume—whether it be literature, aperson, or a piece of music. Why share the musical food of those who are, by breeding or circumstance, debarred from anything better? The vulgar impulse which generated rag-time cannot arouse a noble impulse in response any more than "dime novels" can awaken the instincts of gentlemanliness or ladyship. If we watch the street-sweeper we are liable to get dusty. But remember that the dust on the mind and soul is not so easily removed as the dust on our clothes.ETHICALWhat the Object of Study Should BeHow can we know that our talent is great enough to warrant us in bestowing year after year of work upon its development?Pleasure and interest should be such that it is in the actual working that one is repaid. Do not think so much of the end of your work. Do not force your work with the one view of becoming a great artist. Let Providence and the future decide your standing in music. Go on studying with earnestness and interest, and find your pleasure in the endeavour, not in the accomplishment.PITCH AND KINDRED MATTERSThe International PitchWhat is meant by "pitch" as regards piano tuning? People say that a certain piano is pitched lower than another. Would E on one piano actually sound like F on another?Yes, it would if the pianos were not pitched alike. It is only recently that an international pitch has been established which was adopted everywhere except in England. In the international pitch the A in the second space of the treble staff makes 435 vibrations a second.The "International" Piano PitchWhich piano pitch is preferable, "concert" or "international"?By all means the "international," because it will fit your piano to be used in conjunction with any other instrument, no matter whence it may come. Besides, the international pitch was decided upon as far back as 1859, in Paris, by a government commission, numbering among its members such men as Auber, Halévy, Berlioz, Meyerbeer, Rossini, Ambroise Thomas, and many physicists and army generals. You can easily infer from this that, in determining that theA in the second space of the treble staff should have 435 vibrations a second, all phases of music—vocal, instrumental, string, brass, wood, wind—have been duly considered.The Well-Tempered Piano ScaleIs there really a difference of three-eighths of a tone between A-sharp and B-flat on the piano?There is no difference on the piano. But acoustically there is a difference, over which, however, I would waste no time, since the evenly-tempered scale has been generally adopted, and every composition from Bach's time to the present day has been thought and written in it.The "Colour" of Various KeysIs it not a mistaken idea that any one particular key is more or less rich or melodious than another?The effect of a tonality upon our hearing lies not in its signature (as even Beethoven seemed to believe) but in the vibration proportions. It is, therefore, irrelevant whether we play a piece upon a high-pitched piano in C, or upon a low-pitched piano in D flat. There are certain keyspreferable to others for certain colours, but I fear that the preference is based not upon acoustic qualities but rather upon a fitness for the hand or voice. We apply the word "colour" as much to tone as the painters apply "tone" to colour, but I hardly think that anybody would speak of C major as representing black, or F major green.THE STUDENT'S AGEStarting a Child's Musical TrainingAt what age should a child begin the study of instrumental music? If my daughter (six years old) is to study the violin should she first spend a few years with the piano, orvice versa?The usual age for a child to begin the study of music is between six and seven years. A pianist hardly needs to learn another instrument to become a well-rounded musician, but violinists, as well as the players of all other instruments, and also vocalists, will be much hampered in their general musical development if they fail to acquire what may be called a speaking acquaintance with the piano.Age of the Student is ImmaterialI am not longer in my first youth, cannot take more than one hour's lesson a week, and cannot practise more than three hours a day. Would you still advise me to begin the study of the piano?Provided there is gift and intelligence, the will, and the opportunity to study, age need not stand in your way. If your three hours of study are properly used, and your hour's lesson a week is with a good teacher, you should not become discouraged.Twenty-five Not Too Late to BeginDo you think that mastery of the piano is unlikely or impossible when the beginner is twenty-five years of age?It is neither unlikely nor impossible. Your age will to some degree handicap you, because from purely physical causes the elasticity of the fingers and wrists could be developed much more quickly if you were ten years younger. If, however, you are endowed with strong musical gifts in the abstract you will achieve results superior to those attained by younger people with less talent. In overcoming the difficulties due to a latebeginning you will find great inward satisfaction, and your attainments are bound to be a source of joy to you.TEACHERS, LESSONS AND METHODSThe Importance of the Right TeacherI have a son who is very desirous of learning to play the piano. I have been advised that an ordinarily good teacher is good enough to begin with. Others tell me a beginner should get the best teacher possible. Which would you advise? I live in a small town.The seriousness of your question is aggravated by the statement that you live in a small town, and that there is possibly no teacher of ability to be found in your town. And yet it is only such a one that I can recommend for your son. For nothing is more dangerous for the development of a talent than a bad foundation. Many people have tried all their lives to rid themselves of the bad habits acquired from an ignorant teacher in the rudimentary stages of their studies, and have failed. I should advise you to try your best to send your boy to some near-by city where there is an excellent teacher.Nothing But the Best Will DoWishing to begin the study of the piano now, in my twenty-fourth year, just for the sake of my great love for music, and knowing not even the notes, is it necessary to go to an expensive teacher at once or would a cheaper teacher do for the beginning?If music is to be merely a pastime, and you content yourself with a minimum of knowledge, the cheaper teacher will do; but if you aspire to become musical in a better sense, why, by all means, apply to a teacher of the better class. The maxim: "For the beginning this or that is good enough," is one of the most harmful fallacies. What would you think of an architect who says: "For the foundation loam is good enough; we put a sandstone house over it, any way." Remember also, that the road a cheaper teacher has led you to take must usually be retraced when your aspirations rise toward the better in music.Music Schools and Private TeachersShall I take my lessons in a music school or from a private teacher?Music schools are very good for acquiring a general musical education.For the higher study of an executive specialty (piano, violin, the voice, etc.) I should naturally prefer private instruction from a specialist, because he can give more attention to each individual pupil than is possible under the wholesale system followed, not by all, but by the majority of music schools. What I should advise would be a combination: General matters—harmony, counterpoint, forms, history, and æsthetics—in a music school; and private lessons for your specialty from a teacher who has an established name as an executive artist. The best music schools have such a man at their head, and in these you find the best combination.Individual Teacher, or Conservatory?After taking lessons for five years and a half from a good teacher, would you advise a continuance with the individual teacher or attendance at a college of music or conservatory?For a general musical education I always recommend a good music school or conservatory. For the study of the piano I think it best to take private lessons from an artist who is experiencedboth as an executant and as a teacher. Some music schools have such men on their staff, if not, indeed, at their head.Where Outside Criticism Is DesirableHaving had twenty months' lessons and having now mastered Etudes by Berens, opus 61, by Heller, opus 47, and Smith's Octave Studies, do you think I am justified in continuing my lessons?Assuming that you have really "mastered" the works you mention I can only encourage you to continue your lessons; I would, however, advise you to obtain an experienced pianist's criticism in order to assure yourself that your idea of "mastering" is right.The Sex of the Piano TeacherIs there any preference as to sex in the question of choosing a piano teacher; in other words, is a woman teacher preferable for any reason for a girl and a man teacher for a man?Your question does not admit of generalization from a purely musical point of view. It must be—on this premise—decided by the quality, not by the sex, of the teacher. A good feminine teacher is better than a bad masculine one, andvice versa. The question of sex does not enter into the matter. Of course, the greater number of eminent teachers are found on the masculine side.Too Much "Method"My recently engaged teacher says that the word "method" jars on her nerves. Kindly advise me whether a method is not the best thing for a novice, and, if so, which one?Your teacher, while possibly a little over-sensitive, is not wrong. America is the most method-ridden country in the world. Most of the methods in vogue contain some good points—about a grain of truth to a ton of mere ballast. Your teacher's utterance makes me think that you were lucky in finding her, and that you have excellent reason to trust in her guidance.What the Leschetizky Method IsHow does the Leschetizky method rank with other methods, and in what respect does it differ from them?There are but two methods in all the arts: a good one and a bad one. Since you do not specify with what "other" methods you wish to compare that ofLeschetizky I cannot answer you with definiteness. There are, alas, so many "methods"! But the majority of them are based upon a deliberate disregard for that reverence which is due to great compositions and to the example of their rendition given by great interpreters. I have not studied with Leschetizky, but I think that he believes in a very low position of the hand and a sort of super-energetic tension of the tendons of the arms and hands.Give Your Teacher a Fair TrialHas a young pupil, after studying the piano irregularly for two months, tested fairly a teacher's ability?Of course not! Altogether I do not like the idea of a pupil's testing his teacher's ability, rather the reverse. He may possibly find his teacher unsympathetic, but even this matter he is apt to judge prematurely. In most cases of irregularly attended or poorly prepared lessons the lack of sympathy means nothing more than that the pupil is a trifler and the teacher's honesty of purpose is not to his taste.Either Trust Your Teacher or Get a New OneI have a "Piano Method," left over from lessons with my first teacher; it was very expensive, and I learned only a few pages of it. We moved to a different city and my new teacher objects to using the book, or, as she says, any such book. I do not know what to do about it, and would thank you for your advice.When you apply to a teacher for instruction you must, first of all, decide in your own mind whether you have or have not absolute confidence in his ability. If you trust him you must do as you are advised to do; if not, you must apply to another teacher. A book, costing much or little, plays no part in the matter. By what you say of the new teacher, however, I am disposed to think that he is better than the first one.The Proper Course For a Little GirlCommencing piano lessons with my seven-year-old daughter, should I devote my efforts to the development of the fingers and hands, or retard such development so as to keep pace with the expansion of the mind?Your question is interesting. But ifyour mind is clear on that point—and it seems to be—that a one-sided development (in this case technical) is dangerous to the "musical" talent of your little daughter, why, then, your little girl is, indeed, "out of danger." Your very question is a credit to your insight.Frequent Lessons and ShorterIs it better for a young student to take one hour lesson or two half-hour lessons a week?Since young students are liable to form bad habits it is essential that they should come under the teacher's eye as frequently as possible. Hence, it is preferable to divide the hour into two equidistant parts.Number of Lessons Depends on ProgressWhich plan is better for a child of eleven or twelve years: to take a one-hour lesson or two half-hour lessons a week?The child's age is not the determining factor in this matter; it is his musical status.One Lesson a WeekIs one lesson a week inadequate for a piano student?It will be sufficient in the more advanced stages of piano study. In theearlier stages, however, where the danger of forming bad habits is greatest, it is best to bring the pupil under his teacher's eye twice a week at the very least.Better Not Give the Child "Modified Classics"What little classics are best for a child after six months' lessons?There are collections without number of facilitated or simplified arrangements of classic pieces, but I do not altogether approve of them. Let the classics wait until the child is technically—and, above all, mentally—ripe to approach such works as they are written.Can Music Be Studied in America?Is it necessary for me to go to Europe to continue my music studies?If you have very much money to spare, why not? You will see much, also hear much—and some of it not quite so sublime as you anticipated—and, last but not least, you will have "studied abroad." While this slogan still exercises a certain charm upon some people in America, their number is growing less year by year, because the public has begun to understand that the United States affords just as good instruction inmusic as Europe does. It has also been found out that to "study abroad" is by no means a guarantee of a triumphant return. Many a young student who went abroad as a lamb returned as a mutton-head. And why should there not be excellent teachers in America by this time? Even if you should insist upon a European teacher you can find many of the best in America. Is it not simpler that one teacher from Europe go to America to teach a hundred students than that a hundred students should make the trip for the sake of one teacher? I should advise you to stay where you are or go to Philadelphia, New York, or Boston, where you can find excellent teachers, native, resident Americans and foreigners. To quote a case in point, let me say that in Berlin I found Godowsky's pupils to be almost exclusively Americans. They came from various sections of America to study with him and with no one else. But during the eighteen years he spent in Chicago they did not seem to want him. Perhaps he was too near by! Why this self-deception? Without mentioning any names I assure you thatthere are many teachers in America now who, if they should go to Europe, would draw a host of students after them, and some of these excellent men I know personally. It is high time to put an end to the superstitious belief in "studying abroad."MISCELLANEOUS QUESTIONSOrganizing a Musical ClubPlease give me the name of a good book on musical history and advise me how to organize and conduct a musical club among my pupils. Also give me a name, please.You will find the "History of Music," by Baltzell, a serviceable book. As a name for your club I suggest that of the patron saint of music—Saint Cecilia—perhaps, or that of a great composer. Ask the secretaries of a number of musical clubs for their constitutions and by-laws and then adapt these to your locality and circumstances. Make your pupils feel that it is their club and act, yourself, as secretary, if possible.How to Get Music PublishedPlease explain how to go about publishing a piece of music, and also give the name of some good publishing houses.It is very easy to publish a piece of music if the publisher sees any merit in it. Send your piece to any publishing house whose name you find on the title pages of your sheet music. The readers or advisers of the house will report to their chief as to the merit of your piece, and he will then decide and negotiate with you, if his decision is favourable. If he should not care for it he will return your manuscript and you may try some other house. I advise you, however, to obtain the opinion of a good musician before you send your piece to a publisher."Playing in Time" and "Playing in Rhythm"What is the difference between playing "in time" and playing "in rhythm"?Playing in rhythm refers to the inner life of a composition—to its musical pulsation. Playing in time means the prompt arrival upon those points of repose which are conditioned by the rhythm.The Student Who Cannot Play Fast MusicI find great difficulty in playing anything that goes quick, though in a more moderate tempo I can play my pieces faultlessly. Every teacher I had promised to develop my speed, but they allfailed. Can you give me a hint how to overcome my difficulty?Quickness of action, of motion, even of resolution, cannot be acquired by training alone; it must partly be inborn. I assume that your piano-playing is one phase of a general slowness. There is but one remedy for that. You have relied upon your teachers to develop your speed—you should have relied upon your own will-power. Try to will it and to will it often; you will see the ability keep step with the exertions of your will."Wonder-Children" as PianistsMy child of five years of age shows signs of great talent for music. He has a keen, true ear, and plays rather well for his age. Does this justify me in hoping that something out of the ordinary will become of him? They say that so-called "wonder-children" never amount to anything in later life.That "wonder-children" never amount to anything in later life is not borne out by history. If some are disappointments it is either because they astonished by mere executive precocity, instead ofcharming by their talent, or because they were ruined by unscrupulous parents or managers who confounded the promise of a future with its realization. But, aside from these few, all great musicians were "wonder-children," whether they became composers, pianists, violinists, 'cellists, or what not. The biographies of our great masters of the past centuries as well as those of more recent times (Mendelssohn, Wagner, Chopin, Schumann, Liszt, Rubinstein, and all the others), will bear me out in this statement. If your child shows more than mere precocity—if, for instance, he does not merely play in his fifth year what others play in their tenth, but shows qualities of musical superiority—then you may with a fair degree of certainty feel hopeful of a fine musical future for him.The Value of Going to ConcertsShall I attend orchestra concerts or shall I give preference to soloists?By all means attend orchestra and chamber-music concerts! For these will acquaint you with those works which are, after all, of the greatest importance to the student. Besides, you will usuallyhear more correct interpretations than from soloists. The latter, with some luminous exceptions, overestimate their own authority and take such unseemly liberties that in many cases you hear more Smith, Jones, or Levy than Beethoven, Schumann, or Chopin. Individuality in a soloist is certainly a great quality, but only if it is tempered by a proper deference to the composer of the work in hand. If you cannot hear a soloist who is capable of sinking his individuality in the thought, mood, and style of the composer he is interpreting—and this is given to only the very greatest—you do far better to prefer to the "individual" renditions of a soloist the "collective" renditions of the orchestra or string quartette. The synthetic nature of the orchestra forestalls the extravagances of so-called individuality and insures, generally speaking, a truthful interpretation. The very worst conductor imaginable cannot do as much harm to a composition as can a mediocre soloist, for an orchestra is a large body and, therefore, not so easily moved and shifted from the path of musical rectitudeas is a single voice or an instrument. A really great soloist is, of course, the finest flower of the garden of applied music, for his touch with the instrument is immediate and he needs no middleman to express the finest shades of his conceptions; while the conductor—and even the best—has to impart his conception (through the baton, facial expression, and gesture) to other people before it can become audible, and on this circuitous route much of the original fervour and ardour may be lost. But there are more good orchestras than great soloists, and hence you are safe in attending orchestra and chamber-music concerts.Books That Aid the Student Working AloneCompelled to study without a teacher for two years before I can go to a conservatory, what method should I study for my technique and what pieces?You fail to say whether you are a beginner or already somewhat advanced. Still, I think it safe to recommend Mason's "Touch and Technique," Sternberg's Etudes, opus 66; and select your pieces from the graded catalogues which any publisher will be glad to send you.Music as a Profession or as an AvocationWould you advise a young man with a good foundation to choose music—that is, concertizing—as a career, or should he keep his music as an accomplishment and avocation?Your distinguishing between music and concertizing gives direction to my reply; that the question was not answered by your own heart before you asked it prompts me to advise music for you as an avocation. The artist's career nowadays is not so simple as it appears to be. Of a thousand capable musicians there is, perhaps, one who attains to a general reputation and fortune. The rest of them, after spending money, time, and toil, give up in despair, and with an embittered disposition take up some other occupation. If you do not depend upon public music-making for a living; if your natural endowments are not of a very unusually high order, and if your entire personality does not imply the exercise of authority over assemblages of people—spiritual authority, I mean—it were better to enjoy your music in the circle of your friends. It is less risky and will, in all probability, give you much greater satisfaction.How Much You Can Get From MusicWhen I hear a concert pianist I want to get more from his playing than æsthetic ear enjoyment. Can you give me a little outline of points for which to look that may help me in my piano study?There is no pleasure or enjoyment from which we can derive more than we bring with us in the way of receptiveness. As you deepen your study of music and gain insight into its forms, contrapuntal work and harmonic beauties you will derive more and more pleasure from listening to a good pianist the deeper your studies go. What their playing reflects of emotional life you will perceive in the exact measure of your own grasp upon life. Art is a medium connecting, like a telegraph, two stations: the sender of a message and the receiver. Both must be pitched equally high to make the communication perfect."It is So Much Easier to Read Flats Than Sharps!"You would confer a favour upon a teacher by solving a problem for her that has puzzled her all her life; why do all pupils prefer flats to sharps? I am not at all sure that I do not, in somedegree, share this preference. Is it a fault of training, or has it any other cause?Your question is both original and well justified by frequent observation, for it is quite true that people prefer to read flats to sharps. But note it well that the aversion to sharps refers only to the reading, not to the playing. If any one should find it harder toplayin sharps, say, after knowing the notes well, it would be a purely subjective deception, due to a mental association of the note-picture with the respective sounds. My personal belief is that the aversion to thereadingof sharps is caused by the comparative complexity of the sign itself, and this leads me to think that the whole matter belongs rather to ophthalmology than to either acoustics or music.Rubinstein or Liszt—Which the Greater?As between Liszt and Rubinstein, whom do you consider the greater?Rubinstein I knew very well (I was his pupil), and have heard him play a great many times. Liszt, who died when I was sixteen years old and had notappeared in public for some twenty years previously, I never met and never heard. Still, from the descriptions which many of my friends gave me of him, and from the study of his works, I have been able to form a fair idea of his playing and his personality. As a virtuoso I think Liszt stood above Rubinstein, for his playing must have possessed amazing, dazzling qualities. Rubinstein excelled by his sincerity, by his demoniacal, Heaven-storming power of great impassionedness, qualities which with Liszt had passed through the sieve of a superior education and—if you understand how I mean that term—gentlemanly elegance. He was, in the highest meaning of the word, a man of the world; Rubinstein, a world-stormer, with a sovereign disregard for conventionality and for Mrs. Grundy. The principal difference lay in the characters of the two. As musicians, with regard to their natural endowments and ability, they were probably of the same gigantic calibre, such as we would seek in vain at the present time.As to One Composer—Excluding All OthersIf I am deeply interested in Beethoven's music can I not find in him all that there is in music, in both an æsthetic and a technical sense? Is any one's music more profound?You imagine yourself in an impenetrable stronghold whence, safe from all attacks, you may look upon all composers (except Beethoven) with a patronizing, condescending smile. But you are gravely in error. Life is too rich in experience, too many-sided in its manifestations, to permit any one master, however great, to exhaust its interpretation through his art. If you base your preference for Beethoven upon your sympathies, and if, for this reason, his music satisfies you better than that of any other composer, you are to be complimented upon your good taste. But that gives you no right to contest, for instance, the profoundness of Bach, the æsthetic charm of Chopin, the wonders of Mozart's art, nor the many and various merits of your contemporary composers. The least that one can be charged with who finds the whole of life expressed in anyone composer is one-sidedness, not to speak of the fact that the understanding cannot be very deep for one master if it is closed to all others. One of the chief requirements for true connoisseurship is catholicity of taste.A Sensible Scheme of Playing for PleasureI am fifty-six years old, live in the mountains sixty-five miles from any railroad, alone with my husband, and I have not taken lessons in thirty-five years. Do you think "Pischna" would help me much to regain my former ability to play? If not, what would you advise me to do?Refrain from all especially technical work. Since your love of music is strong enough to cause you to resume your playing you should take as much pleasure in it as possible and work technically only in the pieces you play—that is, in those places which offer you difficulties. Decide upon a comfortable fingering first, and practise the difficult places separately and slowly until you feel that you can venture to play them in their appropriate speed.First Learn to Play Simple Things WellWhat pieces would you advise me to memorize after Rachmaninoff's Prelude in C-sharp minor and Chopin's A-flat Ballade? These pieces do not appeal to the majority of people, but I enjoy them.If such a work as Chopin's Ballade in A-flat does not "appeal to the majority"—as you say—the fault cannot lie in the composition, but must be sought in the interpretation. Why not try a few pieces of lesser complexity and play them so perfectly that they do appeal to the majority. Try Chopin's Nocturne, opus 27, No. 2; Schumann's Romanza, opus. 28, No. 2; or his "Traumerei," or some of the more pretentious "Songs Without Words" by Mendelssohn.About Starting on a Concert CareerI am twenty-four, have had four years' rigorous work in a conservatory and a partial college training. My technique is adequate for Brahms's Rhapsody in G minor and McDowell's Sonatas. I have good health and am determined not to grow self-satisfied. Is there a place on the concert stage—even if only as an accompanist—for a woman thus equipped?Any public career must begin by earning the good opinion of others. One's own opinion, however just, is never a criterion. My advice is that you speak to some of the prominent concert agents, whose names and addresses you find in every well-accredited music paper. Play for them. They are usually not connoisseurs by actual knowledge, but they have developed a fine instinct for that which is of use to them, and you are, of course, aware that we must be of use to others before we can be of use to ourselves. If the right "stuff" is in you you will make your way. People of ability always do. That there is room for women on the concert stage is proved by the great array of meritorious women pianists. Especially for accompanying women are in demand—that is, forgoodaccompanying. But I would not start out with the idea of accompanying. It seems like going to a commercial school to study be to an "assistant" bookkeeper. Become a fine, all-round musician, a fine pianist, and see what the tide of affairs will bringyou. The proper level for your ability is bound to disclose itself to you.Accompanist Usually Precedes Soloist at EnteringShould an accompanist precede or follow the soloist on the stage in a concert or recital, and should sex be considered in the matter?If the soloist be a man the accompanist should precede him on the stage in order to arrange his music, the height of his seat or whatever may be necessary, during which time the soloist salutes the audience. For these reasons it should be the same when the soloist is a woman, but as women are of the feminine persuasion it will, perhaps, look better if the accompanist yields precedence to her.
The Two Hands Playing Different Rhythms
How should, in Chopin's Fantasy Impromptu, the four notes of the right be played to the three of the left? Is an exact division possible?
An exact division would lead to such fractions as the musician has no means of measuring and no terms for expressing. There is but one way to play unequal rhythms simultaneously in both hands; study each hand separately until you can depend upon it, and put them together without thinking of either rhythm. Think of the points where the two hands have to meet, the "dead points" of the two motions, and rely on your automatism until, by frequent hearing, you have learned to listen to two rhythms at once.
The Old Problem of Duple Time Against TripleHow should the above-quoted notes be brought in with the lower triplets?It would be futile to attempt a precise and conscious division in such cases. The best, in fact, the only, way to do is to practise the hands separately with an exaggerated accent on each beat until the points where the hands meet are well conceived and the relative speed ratios are well understood. Then try to play the hands together, and do not be discouraged if the first attempts fail. Repeat the trial often and you will finally succeed if the separate practice has been sufficient to produce a semi-automatic action of the hands.
The Old Problem of Duple Time Against Triple
How should the above-quoted notes be brought in with the lower triplets?
It would be futile to attempt a precise and conscious division in such cases. The best, in fact, the only, way to do is to practise the hands separately with an exaggerated accent on each beat until the points where the hands meet are well conceived and the relative speed ratios are well understood. Then try to play the hands together, and do not be discouraged if the first attempts fail. Repeat the trial often and you will finally succeed if the separate practice has been sufficient to produce a semi-automatic action of the hands.
The Value and Correct Practice of PhrasingCan you give an amateur a concise definition of phrasing and a few helpful suggestions as to clear phrasing?Phrasing is a rational division and subdivision of musical sentences, and serves to make them intelligible. It corresponds closely with punctuation in literature and its recitation. Find out the start, the end, and the culminating point of your phrase. The last-namedis usually to be found upon the highest note of the phrase, while the former are usually indicated by phrasing slurs. Generally speaking, the rising of the melody is combined with an increase of strength up to the point of culmination, where, in keeping with the note design, the decrease of strength sets in. For artistic phrasing it is of the utmost importance properly to recognize the principal mood of the piece, for this must, naturally, influence the rendition of every detail in it. A phrase occurring in an agitated movement, for instance, will have to be rendered very differently from a similar-looking phrase in a slow, dreamy movement.
The Value and Correct Practice of Phrasing
Can you give an amateur a concise definition of phrasing and a few helpful suggestions as to clear phrasing?
Phrasing is a rational division and subdivision of musical sentences, and serves to make them intelligible. It corresponds closely with punctuation in literature and its recitation. Find out the start, the end, and the culminating point of your phrase. The last-namedis usually to be found upon the highest note of the phrase, while the former are usually indicated by phrasing slurs. Generally speaking, the rising of the melody is combined with an increase of strength up to the point of culmination, where, in keeping with the note design, the decrease of strength sets in. For artistic phrasing it is of the utmost importance properly to recognize the principal mood of the piece, for this must, naturally, influence the rendition of every detail in it. A phrase occurring in an agitated movement, for instance, will have to be rendered very differently from a similar-looking phrase in a slow, dreamy movement.
Do Not Raise Wrist in Marking a RestIn observing a rest should the hand be raised from the wrist?Never! Such a motion should be made only in rapid wrist octaves or other double notes when a staccato is prescribed. The regular way to conclude a phrase, or observe a pause, as you say, is to lift the arm from the keyboard and keep the wrist perfectly limp, so that the arm carries the loosely hanging hand upward.
Do Not Raise Wrist in Marking a Rest
In observing a rest should the hand be raised from the wrist?
Never! Such a motion should be made only in rapid wrist octaves or other double notes when a staccato is prescribed. The regular way to conclude a phrase, or observe a pause, as you say, is to lift the arm from the keyboard and keep the wrist perfectly limp, so that the arm carries the loosely hanging hand upward.
As to Playing RubatoWill you please tell me what is the best method of playing rubato?The artistic principles ruling rubato playing are good taste and keeping within artistic bounds. The physical principle is balance. What you shorten of the time in one phrase or part of a phrase you must add at the first opportunity to another in order that the time "stolen" (rubato) in one place may be restituted in another. The æsthetic law demands that the total time-value of a music piece shall not be affected by any rubato, hence, the rubato can only have sway within the limits of such time as would be consumed if the piece were played in the strictest time.
As to Playing Rubato
Will you please tell me what is the best method of playing rubato?
The artistic principles ruling rubato playing are good taste and keeping within artistic bounds. The physical principle is balance. What you shorten of the time in one phrase or part of a phrase you must add at the first opportunity to another in order that the time "stolen" (rubato) in one place may be restituted in another. The æsthetic law demands that the total time-value of a music piece shall not be affected by any rubato, hence, the rubato can only have sway within the limits of such time as would be consumed if the piece were played in the strictest time.
How to Play Passages Marked "Rubato"I find an explanation oftempo rubatowhich says that the hand which plays the melody may move with all possible freedom, while the accompanying hand must keep strict time. How can this be done?The explanation you found, while not absolutely wrong, is very misleading, for it can find application only in a very few isolated cases; only inside of oneshort phrase and then hardly satisfactorily. Besides, the words you quote are not an explanation, but a mere assertion or, rather, allegation.Tempo rubatomeans a wavering, a vacillating of time values, and the question whether this is to extend over both hands or over only one must be decided by the player's good taste; it also depends upon whether the occupation of the two hands can be thought of as separate and musically independent. I assume that you are able to play each hand alone with perfect freedom, and I doubt not that you can, with some practice, retain this freedom of each hand when you unite them, but I can see only very few cases to which you could apply such skill, and still less do I see the advantage thereof.
How to Play Passages Marked "Rubato"
I find an explanation oftempo rubatowhich says that the hand which plays the melody may move with all possible freedom, while the accompanying hand must keep strict time. How can this be done?
The explanation you found, while not absolutely wrong, is very misleading, for it can find application only in a very few isolated cases; only inside of oneshort phrase and then hardly satisfactorily. Besides, the words you quote are not an explanation, but a mere assertion or, rather, allegation.Tempo rubatomeans a wavering, a vacillating of time values, and the question whether this is to extend over both hands or over only one must be decided by the player's good taste; it also depends upon whether the occupation of the two hands can be thought of as separate and musically independent. I assume that you are able to play each hand alone with perfect freedom, and I doubt not that you can, with some practice, retain this freedom of each hand when you unite them, but I can see only very few cases to which you could apply such skill, and still less do I see the advantage thereof.
Perfect Rubato the Result of Momentary ImpulseIn playingrubatodo you follow a preconceived notion or the impulse of the moment?Perfect expression is possible only under perfect freedom. Hence, the perfectrubatomust be the result of momentary impulse. It is, however, only a few very eminent players that have such commandover this means of expression as to feel safe in trusting their momentary impulses altogether. The average player will do well carefully to consider the shifting of time values and to prepare their execution to a certain degree. This should not, however, be carried too far, as it would impair the naturalness of expression and lead to a stereotyped mannerism.
Perfect Rubato the Result of Momentary Impulse
In playingrubatodo you follow a preconceived notion or the impulse of the moment?
Perfect expression is possible only under perfect freedom. Hence, the perfectrubatomust be the result of momentary impulse. It is, however, only a few very eminent players that have such commandover this means of expression as to feel safe in trusting their momentary impulses altogether. The average player will do well carefully to consider the shifting of time values and to prepare their execution to a certain degree. This should not, however, be carried too far, as it would impair the naturalness of expression and lead to a stereotyped mannerism.
The Difference Between Conception and RubatoIs there any difference between conception andrubato?Conception is a generic term and comprises the service of each and all means of expression, among whichrubatoplays a somewhat prominent part. For it is, so to speak, the musical pulse-beat of the player. Being subordinate to conception, its function and manner must be governed by the latter.
The Difference Between Conception and Rubato
Is there any difference between conception andrubato?
Conception is a generic term and comprises the service of each and all means of expression, among whichrubatoplays a somewhat prominent part. For it is, so to speak, the musical pulse-beat of the player. Being subordinate to conception, its function and manner must be governed by the latter.
Different Conceptions May be Individually CorrectCan one and the same phrase be conceived differently by different artists and still be individually correct in each instance?Certainly! Provided that—whatever the conception be—it preserves thelogical relations of the parts in building up the phrase, and that it is carried through the whole course of the piece in a consistent manner. Whether a certain conception of a phrase is or is not compatible with the general character of the piece and how far the freedom of conception may extend, it will be for the æsthetic training and the good taste of the player to determine for each and every case separately.
Different Conceptions May be Individually Correct
Can one and the same phrase be conceived differently by different artists and still be individually correct in each instance?
Certainly! Provided that—whatever the conception be—it preserves thelogical relations of the parts in building up the phrase, and that it is carried through the whole course of the piece in a consistent manner. Whether a certain conception of a phrase is or is not compatible with the general character of the piece and how far the freedom of conception may extend, it will be for the æsthetic training and the good taste of the player to determine for each and every case separately.
Which Should Come First—Conception or Technique?In the first attempts at a new piece must matters of conception be observed at once or only after the piece has been technically mastered?Unless one is a very experienced reader it will be hardly possible to think of matters of conception until the technical means to express them and the necessary perspective of the piece have been gained. It is always safer first to make sure that the notes as such, and their respective times value have been read correctly, and that the technical difficulties have, to a fair degree, been overcome. This done, the question must be settled as to whether the general characterof the piece is dramatic,i. e., tragic or conciliatory, melancholy, lyric, rhapsodic, humorous, or changeable, and so forth. Only when our mind on this point is made up with the utmost definiteness, can we approach the details that are conditioned by the conception.
Which Should Come First—Conception or Technique?
In the first attempts at a new piece must matters of conception be observed at once or only after the piece has been technically mastered?
Unless one is a very experienced reader it will be hardly possible to think of matters of conception until the technical means to express them and the necessary perspective of the piece have been gained. It is always safer first to make sure that the notes as such, and their respective times value have been read correctly, and that the technical difficulties have, to a fair degree, been overcome. This done, the question must be settled as to whether the general characterof the piece is dramatic,i. e., tragic or conciliatory, melancholy, lyric, rhapsodic, humorous, or changeable, and so forth. Only when our mind on this point is made up with the utmost definiteness, can we approach the details that are conditioned by the conception.
Hearing a Piece Before Studying ItShould a pupil hear a piece played before studying it?If the pupil's imagination needs stimulation he should hear the piece well played before studying it. If, however, he is merely too lazy to find out the rhythm, melody, and so forth, and rather relies upon his purely imitative faculty, he should not hear it, but be compelled to do his own reading and thinking.
Hearing a Piece Before Studying It
Should a pupil hear a piece played before studying it?
If the pupil's imagination needs stimulation he should hear the piece well played before studying it. If, however, he is merely too lazy to find out the rhythm, melody, and so forth, and rather relies upon his purely imitative faculty, he should not hear it, but be compelled to do his own reading and thinking.
Why the Pianist Should Study HarmonyDo you recommend the study of harmony and counterpoint to the piano student?By all means! To gain a musical insight into the pieces you play you must be able to follow the course of their harmonies and understand the contrapuntal treatment of their themes. Withoutthe knowledge gained through a serious study of harmony and counter-point your conceptions will be pure guesswork and will lack in outline and definiteness.
Why the Pianist Should Study Harmony
Do you recommend the study of harmony and counterpoint to the piano student?
By all means! To gain a musical insight into the pieces you play you must be able to follow the course of their harmonies and understand the contrapuntal treatment of their themes. Withoutthe knowledge gained through a serious study of harmony and counter-point your conceptions will be pure guesswork and will lack in outline and definiteness.
Why so Many Different Keys?Why is it supposed to be necessary to have fifteen keys to complete the circle of fifths? Why would not twelve suffice, and thus avoid duplicate keys?Not fifteen, but twenty-five tonalities complete the circle of fifths, theoretically, and they are all necessary because of the many harmonic turns that occur in modern music and which could not be intelligently demonstrated unless we use the tonalities with seven, eight, nine or more sharps and flats. For otherwise we might have to change the signature so frequently as to become utterly confusing to even the most musicianly reader. C-sharp minor has but four sharps, yet the scale of its dominant (its next relative) has eight sharps.
Why so Many Different Keys?
Why is it supposed to be necessary to have fifteen keys to complete the circle of fifths? Why would not twelve suffice, and thus avoid duplicate keys?
Not fifteen, but twenty-five tonalities complete the circle of fifths, theoretically, and they are all necessary because of the many harmonic turns that occur in modern music and which could not be intelligently demonstrated unless we use the tonalities with seven, eight, nine or more sharps and flats. For otherwise we might have to change the signature so frequently as to become utterly confusing to even the most musicianly reader. C-sharp minor has but four sharps, yet the scale of its dominant (its next relative) has eight sharps.
The Relation of Harmony to Piano-PlayingIs it absolutely necessary for me to study harmony in connection with my piano? My teacher wants me to do it, but I don't see the use! Of what benefit is harmony?Of what benefit is the general school-work a child has to go through? To play the piano well a good hand and so many hours of practice are not sufficient; it requires a general musical education. This means, first and foremost, a knowledge of harmony, to which you may later add the study of counterpoint and forms. Your teacher is absolutely right.
The Relation of Harmony to Piano-Playing
Is it absolutely necessary for me to study harmony in connection with my piano? My teacher wants me to do it, but I don't see the use! Of what benefit is harmony?
Of what benefit is the general school-work a child has to go through? To play the piano well a good hand and so many hours of practice are not sufficient; it requires a general musical education. This means, first and foremost, a knowledge of harmony, to which you may later add the study of counterpoint and forms. Your teacher is absolutely right.
Text-Books on HarmonyWould you care to recommend two or three of the best books on the study of harmony?The doctrine of harmony is ever the same, but the modes of teaching it are constantly changing and, I trust, improving. For this reason I feel a certain hesitation in recommending at this time the text-books which I studied many years ago, especially as I am not certain that they have been translated into English. I advise you, therefore, to inquire of some good teacher of harmony or, at least, of a reliable music publisher or dealer. E. F. Richter and Bussler wrote works of recognized merit, which, though no longer modern, may be safely studied.
Text-Books on Harmony
Would you care to recommend two or three of the best books on the study of harmony?
The doctrine of harmony is ever the same, but the modes of teaching it are constantly changing and, I trust, improving. For this reason I feel a certain hesitation in recommending at this time the text-books which I studied many years ago, especially as I am not certain that they have been translated into English. I advise you, therefore, to inquire of some good teacher of harmony or, at least, of a reliable music publisher or dealer. E. F. Richter and Bussler wrote works of recognized merit, which, though no longer modern, may be safely studied.
Learning to ModulateIs it possible to learn modulating from a book without the aid of a teacher, so as to connect two pieces of different tonality?Possible, yes, but not probable; for since in your written exercises you are likely to err at times, you will need some one to point out your errors and so show you the way to correct them. Generally speaking, I do not think much of studying the rudiments of anything without the aid of an experienced adviser.
Learning to Modulate
Is it possible to learn modulating from a book without the aid of a teacher, so as to connect two pieces of different tonality?
Possible, yes, but not probable; for since in your written exercises you are likely to err at times, you will need some one to point out your errors and so show you the way to correct them. Generally speaking, I do not think much of studying the rudiments of anything without the aid of an experienced adviser.
Studying Counterpoint by One's SelfIs it possible to study counterpoint without a teacher, and, if so, what book can you recommend for its study?It is quite possible, provided you are certain never to misunderstand your text-book and never to commit any errors. Otherwise you will need the advice of an experienced musician in correcting them. A good teacher, however, is always better than a book for this study. Of text-books there are a great many. Any reliable music house will furnish you with a list of them.
Studying Counterpoint by One's Self
Is it possible to study counterpoint without a teacher, and, if so, what book can you recommend for its study?
It is quite possible, provided you are certain never to misunderstand your text-book and never to commit any errors. Otherwise you will need the advice of an experienced musician in correcting them. A good teacher, however, is always better than a book for this study. Of text-books there are a great many. Any reliable music house will furnish you with a list of them.
Should Piano Students Try to Compose?Besides my study of the piano shall I try to compose if I feel the inclination and believe I have some talent for it?The practice of constructing will always facilitate your work of reconstructing, which is, practically, what the rendition of a musical work means. Hence, I advise every one who feels able to construct even a modest little piece to try his hand at it. Of course, if you can write only a two-step it will not enable you to reconstruct a Beethoven Sonata; still, there may be little places in the Sonata that will clear up in your mind more quickly when you have come in touch with the technical act of putting down on paper what your mind has created, and you will altogether lose the attitude of the absolute stranger when facing a new composition. Do not construe this, however, as an encouragement to write two-steps!
Should Piano Students Try to Compose?
Besides my study of the piano shall I try to compose if I feel the inclination and believe I have some talent for it?
The practice of constructing will always facilitate your work of reconstructing, which is, practically, what the rendition of a musical work means. Hence, I advise every one who feels able to construct even a modest little piece to try his hand at it. Of course, if you can write only a two-step it will not enable you to reconstruct a Beethoven Sonata; still, there may be little places in the Sonata that will clear up in your mind more quickly when you have come in touch with the technical act of putting down on paper what your mind has created, and you will altogether lose the attitude of the absolute stranger when facing a new composition. Do not construe this, however, as an encouragement to write two-steps!
The Student Who Wants to ComposePlease advise me as to the best way of learning composition. Which is the best work of that kind from which I could learn?First learn to write notes. Copyingall sorts of music is the best practice for that. Then study the doctrine of harmony. Follow it up by a study of the various forms of counterpoint. Proceed to canon in its many kinds and intervals. Take up the fugue. Then study forms until you learn to feel them. Books for every one of these stages there are many, but better than all the books is a good teacher.
The Student Who Wants to Compose
Please advise me as to the best way of learning composition. Which is the best work of that kind from which I could learn?
First learn to write notes. Copyingall sorts of music is the best practice for that. Then study the doctrine of harmony. Follow it up by a study of the various forms of counterpoint. Proceed to canon in its many kinds and intervals. Take up the fugue. Then study forms until you learn to feel them. Books for every one of these stages there are many, but better than all the books is a good teacher.
The Difference Between Major and Minor ScalesWhat is the difference between the major and minor scale? Does it lie in the arrangement of semitones or in the character, or in both?There are three differences: First, in the arrangement of the semitones; second, in the character; and, third, in the circumstance that the minor scale admits of a number of modifications for melodic purposes which cannot be made in the major scale.
The Difference Between Major and Minor Scales
What is the difference between the major and minor scale? Does it lie in the arrangement of semitones or in the character, or in both?
There are three differences: First, in the arrangement of the semitones; second, in the character; and, third, in the circumstance that the minor scale admits of a number of modifications for melodic purposes which cannot be made in the major scale.
There is Only One Minor ScaleWhich is the true minor scale, the melodic or the harmonic? My teacher insists upon the harmonic, but it sounds ugly to me. Will you please tell me something about it?There is but one minor scale; it is the one upon which the chords of its tonality are built; it is the one upon which your teacher wisely insists, because the so-called melodic minor scale offers no new intervals to your fingers, and because the term melodic minor scale is applied to that form of deviation from the real scale which is most frequently used, but which is by no means the only deviation that is possible; nor is it the only one in use.
There is Only One Minor Scale
Which is the true minor scale, the melodic or the harmonic? My teacher insists upon the harmonic, but it sounds ugly to me. Will you please tell me something about it?
There is but one minor scale; it is the one upon which the chords of its tonality are built; it is the one upon which your teacher wisely insists, because the so-called melodic minor scale offers no new intervals to your fingers, and because the term melodic minor scale is applied to that form of deviation from the real scale which is most frequently used, but which is by no means the only deviation that is possible; nor is it the only one in use.
What is the Difference Between the Major and Minor Scales?What is the difference between the major and minor scales?The major scale has a major third and sixth, while the minor scale has a minor third and sixth and raises its seventh to a major seventh by an accidental elevating sign, raising a natural note by a sharp, and a flat note by a natural. If you begin your major scale upon its sixth degree and, counting it as the first of the minor, raise the seventh, you obtain the minor scale, in which, however, many modifications are admissible for melodic (though not for harmonic) purposes.
What is the Difference Between the Major and Minor Scales?
What is the difference between the major and minor scales?
The major scale has a major third and sixth, while the minor scale has a minor third and sixth and raises its seventh to a major seventh by an accidental elevating sign, raising a natural note by a sharp, and a flat note by a natural. If you begin your major scale upon its sixth degree and, counting it as the first of the minor, raise the seventh, you obtain the minor scale, in which, however, many modifications are admissible for melodic (though not for harmonic) purposes.
How Waltz, Menuet, Mazurka, and Polonaise DifferAs a waltz and a menuet are both in three-fourth time, is it only the tempo in which they differ, or are there other differences?Waltz, menuet, mazurka, and polonaise are all in three-fourth time and are not confined to a definite tempo. The difference between them lies in the structure. A waltz period—that is, the full expression of a theme—needs sixteen measures; a menuet needs only eight, a mazurka only four measures. In a mazurka a motive occupies only one measure, in the menuet two, and in the waltz four. The polonaise subdivides its quarters into eighths, and the second eighth usually into two sixteenths; it differs, therefore, from the other three dances by its rhythm.
How Waltz, Menuet, Mazurka, and Polonaise Differ
As a waltz and a menuet are both in three-fourth time, is it only the tempo in which they differ, or are there other differences?
Waltz, menuet, mazurka, and polonaise are all in three-fourth time and are not confined to a definite tempo. The difference between them lies in the structure. A waltz period—that is, the full expression of a theme—needs sixteen measures; a menuet needs only eight, a mazurka only four measures. In a mazurka a motive occupies only one measure, in the menuet two, and in the waltz four. The polonaise subdivides its quarters into eighths, and the second eighth usually into two sixteenths; it differs, therefore, from the other three dances by its rhythm.
The Meaning of "Toccata"What is the meaning of the word "Toccata"? I do not find it in the Italian lexicon and the English musical dictionaries differ widely in their definitions. None of their definitions seems to apply to the Toccata by Chaminade.To make the matter quite plain let me say, first, that "Cantata" (fromcantare—to sing) meant in olden times a music piece to be sung; while "Sonata" (fromsuonare—to play) designated a piece to be played on an instrument; and "Toccato" meant a piece for keyboard instruments like the organ or piano and its precursors, written with the intention of providing special opportunities for the display of the skill of touch (fromtoccare—to touch) or, as we would now say, finger technique. The original meanings have changed so that these terms now imply definite forms, like the modern Cantata and Sonata. The Toccata is, at present, understood to be a piece in constant and regular motion, very much like those that are called "moto perpetuo" or "perpetual motion," of which Weber's "Perpetuum mobile" is a good example. I have no doubt that the Toccata by Chaminade, which I do not know, is written on similar lines.
The Meaning of "Toccata"
What is the meaning of the word "Toccata"? I do not find it in the Italian lexicon and the English musical dictionaries differ widely in their definitions. None of their definitions seems to apply to the Toccata by Chaminade.
To make the matter quite plain let me say, first, that "Cantata" (fromcantare—to sing) meant in olden times a music piece to be sung; while "Sonata" (fromsuonare—to play) designated a piece to be played on an instrument; and "Toccato" meant a piece for keyboard instruments like the organ or piano and its precursors, written with the intention of providing special opportunities for the display of the skill of touch (fromtoccare—to touch) or, as we would now say, finger technique. The original meanings have changed so that these terms now imply definite forms, like the modern Cantata and Sonata. The Toccata is, at present, understood to be a piece in constant and regular motion, very much like those that are called "moto perpetuo" or "perpetual motion," of which Weber's "Perpetuum mobile" is a good example. I have no doubt that the Toccata by Chaminade, which I do not know, is written on similar lines.
Playing from Memory Is IndispensableIs memorization absolutely essential to a good player?Playing from memory is indispensable to the freedom of rendition. You haveto bear in your mind and memory the whole piece in order to attend properly to its details. Some renowned players who take the printed sheets before them on the stage play, nevertheless, from memory. They take the music with them only to heighten their feeling of security and to counteract a lack of confidence in their memory—a species of nervousness.
Playing from Memory Is Indispensable
Is memorization absolutely essential to a good player?
Playing from memory is indispensable to the freedom of rendition. You haveto bear in your mind and memory the whole piece in order to attend properly to its details. Some renowned players who take the printed sheets before them on the stage play, nevertheless, from memory. They take the music with them only to heighten their feeling of security and to counteract a lack of confidence in their memory—a species of nervousness.
The Easiest Way to MemorizeWill you please tell me which is the easiest way to memorize a piano piece?Begin by playing it a few times very carefully and slowly until you can play it with a fair degree of exactitude (you need not mind an occasional stopping). Then go over such places as appeared to you especially complex until you understand their construction. Now let the piece rest for a whole day and try to trace in your mind the train of thoughts in the piece. Should you come to a dead stop be satisfied with what you have achieved. Your mind will keep on working, subconsciously, as over a puzzle, always trying to find the continuation. If you find that the memory is a blanktake the music in hand, look at the particular place—but only at this—and, since you have now found the connection, continue the work of mental tracing. At the next stop repeat this procedure until you have reached the end, not in every detail, but in large outlines. Of course, this does not mean that you can nowplayit from memory. You have only arrived at the point of transition from the imagined to the real, and now begins a new kind of study: to transfer to the instrument what you have mentally absorbed. Try to do this piece by piece, and look into the printed sheets (which should not be on the music-rack but away from it) only when your memory absolutely refuses to go on. The real work with the printed music should be reserved to the last, and you should regard it in the light of a proof-reading of your mental impressions. The whole process of absorbing a piece of music mentally resembles that of photographing. The development of the acoustic picture (the tone-picture) is like the bath. The tentative playing is like the process of "fixing" againstsensitiveness to lights; and the final work with the printed music is the retouching.
The Easiest Way to Memorize
Will you please tell me which is the easiest way to memorize a piano piece?
Begin by playing it a few times very carefully and slowly until you can play it with a fair degree of exactitude (you need not mind an occasional stopping). Then go over such places as appeared to you especially complex until you understand their construction. Now let the piece rest for a whole day and try to trace in your mind the train of thoughts in the piece. Should you come to a dead stop be satisfied with what you have achieved. Your mind will keep on working, subconsciously, as over a puzzle, always trying to find the continuation. If you find that the memory is a blanktake the music in hand, look at the particular place—but only at this—and, since you have now found the connection, continue the work of mental tracing. At the next stop repeat this procedure until you have reached the end, not in every detail, but in large outlines. Of course, this does not mean that you can nowplayit from memory. You have only arrived at the point of transition from the imagined to the real, and now begins a new kind of study: to transfer to the instrument what you have mentally absorbed. Try to do this piece by piece, and look into the printed sheets (which should not be on the music-rack but away from it) only when your memory absolutely refuses to go on. The real work with the printed music should be reserved to the last, and you should regard it in the light of a proof-reading of your mental impressions. The whole process of absorbing a piece of music mentally resembles that of photographing. The development of the acoustic picture (the tone-picture) is like the bath. The tentative playing is like the process of "fixing" againstsensitiveness to lights; and the final work with the printed music is the retouching.
In Order to Memorize EasilyI find it very hard to memorize my music. Can you suggest any method that would make it easier?To retain in one's memory what does not interest one is difficult to everybody, while that which does interest us comes easy. In your case the first requirement seems to be that your interest in the pieces you are to play be awakened. This interest usually comes with a deeper understanding of music; hence, it may be said that nothing will assist a naturally reluctant memory so much as a general musical education. Special studies for the memory have not come to my knowledge because I never had any need of them. After all, the best way to memorize is—to memorize. One phrase today, another to-morrow, and so on, until the memory grows by its own force through being exercised.
In Order to Memorize Easily
I find it very hard to memorize my music. Can you suggest any method that would make it easier?
To retain in one's memory what does not interest one is difficult to everybody, while that which does interest us comes easy. In your case the first requirement seems to be that your interest in the pieces you are to play be awakened. This interest usually comes with a deeper understanding of music; hence, it may be said that nothing will assist a naturally reluctant memory so much as a general musical education. Special studies for the memory have not come to my knowledge because I never had any need of them. After all, the best way to memorize is—to memorize. One phrase today, another to-morrow, and so on, until the memory grows by its own force through being exercised.
Memorizing Quickly and Forgetting as ReadilyI memorize very easily, so that I can often play my pieces from memory before I have fully mastered their technical difficulties, as my teachersays. But I forget them just as quickly, so that in a few weeks I cannot remember enough of them to play them clear through. What would you advise, to make my memory more retentive?There are two fundamental types of memory: One is very mobile—it acquires quickly and loses just as quickly; the other is more cumbrous in its action—it acquires slowly, but retains forever. A combination of the two is very rare, indeed; I never heard of such a case. A remedy against forgetting you will find in refreshing your memory in regular periods, playing your memorized pieces over (carefully) every four or five days. Other remedies I know not and I see no necessity for them.
Memorizing Quickly and Forgetting as Readily
I memorize very easily, so that I can often play my pieces from memory before I have fully mastered their technical difficulties, as my teachersays. But I forget them just as quickly, so that in a few weeks I cannot remember enough of them to play them clear through. What would you advise, to make my memory more retentive?
There are two fundamental types of memory: One is very mobile—it acquires quickly and loses just as quickly; the other is more cumbrous in its action—it acquires slowly, but retains forever. A combination of the two is very rare, indeed; I never heard of such a case. A remedy against forgetting you will find in refreshing your memory in regular periods, playing your memorized pieces over (carefully) every four or five days. Other remedies I know not and I see no necessity for them.
To Keep Errors from Creeping inI can always memorize a piece before I can play it fast. Do you advise practising with notes when I already know it by heart?The occasional playing of a memorized piece from the notes will keep errors from creeping in, provided you read the music correctly and carefully.
To Keep Errors from Creeping in
I can always memorize a piece before I can play it fast. Do you advise practising with notes when I already know it by heart?
The occasional playing of a memorized piece from the notes will keep errors from creeping in, provided you read the music correctly and carefully.
The Best Way to Improve Sight-ReadingIs there any practical method that will assist one to greater rapidity in sight-reading?The best way to become a quick reader is to read as much as possible. The rapidity of your progress depends upon the state of your general musical education, for the more complete this is the better you will be able to surmise the logical sequel of a phrase once started. A large part of sight-reading consists of surmising, as you will find upon analyzing your book-reading.
The Best Way to Improve Sight-Reading
Is there any practical method that will assist one to greater rapidity in sight-reading?
The best way to become a quick reader is to read as much as possible. The rapidity of your progress depends upon the state of your general musical education, for the more complete this is the better you will be able to surmise the logical sequel of a phrase once started. A large part of sight-reading consists of surmising, as you will find upon analyzing your book-reading.
To Gain Facility in Sight-ReadingWhat is a good plan to pursue to improve the facility in sight-reading?Much reading and playing at sight and as fast as possible, even though at first some slight inaccuracies may creep in. By quick reading you develop that faculty of the eye which is meant by "grasp," and this, in turn, facilitates your reading of details.
To Gain Facility in Sight-Reading
What is a good plan to pursue to improve the facility in sight-reading?
Much reading and playing at sight and as fast as possible, even though at first some slight inaccuracies may creep in. By quick reading you develop that faculty of the eye which is meant by "grasp," and this, in turn, facilitates your reading of details.
Learning To Accompany at SightHow can one learn to accompany at sight?Develop your sight-reading by playingmany accompaniments, and endeavour—while playing your part—also to read and inwardly hear the solo part.
Learning To Accompany at Sight
How can one learn to accompany at sight?
Develop your sight-reading by playingmany accompaniments, and endeavour—while playing your part—also to read and inwardly hear the solo part.
The Art of Accompanying a SoloistHow should one manage the accompaniment for a soloist inclined to play rubato?Since you cannot make a contract of artistically binding force with a soloist you must take refuge in "following." But do not take this word in its literal meaning; rather endeavour to divine the intentions of your soloist from moment to moment, for this divining is the soul of accompanying. To be, in this sense, a good accompanist, one must have what is called in musical slang a good "nose"—that is, one must musically "scent" whither the soloist is going. But, then, the nose is one of the things we are born with. We may develop it, as to its sensitiveness, but we cannot acquire a nose by learning. Experience will do much in these premises, but not everything.
The Art of Accompanying a Soloist
How should one manage the accompaniment for a soloist inclined to play rubato?
Since you cannot make a contract of artistically binding force with a soloist you must take refuge in "following." But do not take this word in its literal meaning; rather endeavour to divine the intentions of your soloist from moment to moment, for this divining is the soul of accompanying. To be, in this sense, a good accompanist, one must have what is called in musical slang a good "nose"—that is, one must musically "scent" whither the soloist is going. But, then, the nose is one of the things we are born with. We may develop it, as to its sensitiveness, but we cannot acquire a nose by learning. Experience will do much in these premises, but not everything.
Learning the Art of AccompanyingWishing to become an accompanist I anticipate completing my studies in Berlin. What salary might I expect and what would be the best "course" to pursue?An experienced and very clever accompanist may possibly earn as much as fifty dollars a week if associated with a vocal, violin, or 'cello artist of great renown. Usually, however, accompanists are expected to be able to play solos. There are no special schools for accompanists, though there may be possibly some special courses in which experience may be fostered. If you come to Berlin you will find it easy to find what you seem to be seeking.
Learning the Art of Accompanying
Wishing to become an accompanist I anticipate completing my studies in Berlin. What salary might I expect and what would be the best "course" to pursue?
An experienced and very clever accompanist may possibly earn as much as fifty dollars a week if associated with a vocal, violin, or 'cello artist of great renown. Usually, however, accompanists are expected to be able to play solos. There are no special schools for accompanists, though there may be possibly some special courses in which experience may be fostered. If you come to Berlin you will find it easy to find what you seem to be seeking.
The Problem of Transposing at SightWhat, please, is the quickest and safest way of transposing from one key to another? I have trouble, for instance, in playing for singing if the piece is in A major and the singer wants it in F major.The question of transposing hinges on the process of hearing through the eye. I mean by this that you must study the piece until you learn to conceive the printed music as sounds and sound groups, not as key pictures. Then transfer the sound picture to another tonality in your mind, very much as if when moving from one floor to another withall your household goods you were to place them on the new floor as they were placed on the old. Practice will, of course, facilitate this process very much. Transposition at sight is based on somewhat different principles. Here you have to get mentally settled in the new tonality, and then follow the course of intervals. If you find transposition difficult you may derive consolation from the thought that it is difficult for everybody, and that transposing at sight is, of course, still more difficult than to transpose after studying the piece beforehand.
The Problem of Transposing at Sight
What, please, is the quickest and safest way of transposing from one key to another? I have trouble, for instance, in playing for singing if the piece is in A major and the singer wants it in F major.
The question of transposing hinges on the process of hearing through the eye. I mean by this that you must study the piece until you learn to conceive the printed music as sounds and sound groups, not as key pictures. Then transfer the sound picture to another tonality in your mind, very much as if when moving from one floor to another withall your household goods you were to place them on the new floor as they were placed on the old. Practice will, of course, facilitate this process very much. Transposition at sight is based on somewhat different principles. Here you have to get mentally settled in the new tonality, and then follow the course of intervals. If you find transposition difficult you may derive consolation from the thought that it is difficult for everybody, and that transposing at sight is, of course, still more difficult than to transpose after studying the piece beforehand.
When to "Play For People"During the period of serious study may I play for people (friends or strangers) or should I keep entirely away from the outside world?From time to time you may play for people the pieces you have mastered, but take good care to go over them afterward—the difficult places slowly—in order to eliminate any slight errors or unevenness that may have crept in. To play for people is not only a good incentive for further aspirations; it alsofurnishes you with a fairly exact estimate of your abilities and shortcomings, and indicates thereby the road to improvement. To retire from the outside world during the period of study is an outlived, obsolete idea which probably originated in the endeavour to curb the vanity of such students as would neglect their studies in hunting, prematurely, for applause. I recommend playing for people moderately and on the condition that for every such "performance" of a piece you play it afterward twice, slowly and carefully, at home. This will keep the piece intact and bring you many other unexpected advantages.
When to "Play For People"
During the period of serious study may I play for people (friends or strangers) or should I keep entirely away from the outside world?
From time to time you may play for people the pieces you have mastered, but take good care to go over them afterward—the difficult places slowly—in order to eliminate any slight errors or unevenness that may have crept in. To play for people is not only a good incentive for further aspirations; it alsofurnishes you with a fairly exact estimate of your abilities and shortcomings, and indicates thereby the road to improvement. To retire from the outside world during the period of study is an outlived, obsolete idea which probably originated in the endeavour to curb the vanity of such students as would neglect their studies in hunting, prematurely, for applause. I recommend playing for people moderately and on the condition that for every such "performance" of a piece you play it afterward twice, slowly and carefully, at home. This will keep the piece intact and bring you many other unexpected advantages.
"Afraid to Play Before People"I can never do myself justice when playing for people, because of my nervousness. How can I overcome it?If you are absolutely certain that your trouble is due to "nervousness" you should improve the condition of your nerves by proper exercise in the open air and by consulting your physician. But are you quite sure that your "nervousness" is not merely another name for self-consciousness, or, worse yet, for a"bad conscience" on the score of technical security? In the latter case you ought to perfect your technique, while in the former you must learn to discard all thought of your dear self, as well as of your hearers in relation to you, and concentrate your thinking upon the work you are to do. This you can well achieve by will-power and persistent self-training.
"Afraid to Play Before People"
I can never do myself justice when playing for people, because of my nervousness. How can I overcome it?
If you are absolutely certain that your trouble is due to "nervousness" you should improve the condition of your nerves by proper exercise in the open air and by consulting your physician. But are you quite sure that your "nervousness" is not merely another name for self-consciousness, or, worse yet, for a"bad conscience" on the score of technical security? In the latter case you ought to perfect your technique, while in the former you must learn to discard all thought of your dear self, as well as of your hearers in relation to you, and concentrate your thinking upon the work you are to do. This you can well achieve by will-power and persistent self-training.
Effect of Playing the Same Piece OftenI have heard artists play the same piece year after year, and each time as expressively as before. After a piece has been played several hundred times it can hardly produce on the player the same emotional effect that it originally did. Is it possible for a player by his art and technical resources so to colour his tones that he can stimulate and produce in his audience an emotional condition which he himself does not at the time feel?In music emotion can be conveyed only through the means and modes of expression that are peculiar to music, such as dynamic changes, vacillations of tempo, differences of touch and kindred devices. When a piece is played in public very often on consecutiveoccasions—which artists avoid as much as they can—these expressions gradually assume a distinct form which is quite capable of preservation. Though it will in time lose its life-breath, it can still produce a deception just as (to draw a drastic parallel) a dead person may look as if he were only asleep. In this parallel the artist has, however, one great advantage. Since he cannot play a piece very often without having a number of errors, rearrangements, slight changes creeping into it, he must, in order to eliminate them and to cleanse the piece, return from time to time to slow practice in which he also refrains almost entirely from expression. When in the next public performance the right tempo and expression are added again they tend strongly to renew the freshness of the piece in the player's mind.
Effect of Playing the Same Piece Often
I have heard artists play the same piece year after year, and each time as expressively as before. After a piece has been played several hundred times it can hardly produce on the player the same emotional effect that it originally did. Is it possible for a player by his art and technical resources so to colour his tones that he can stimulate and produce in his audience an emotional condition which he himself does not at the time feel?
In music emotion can be conveyed only through the means and modes of expression that are peculiar to music, such as dynamic changes, vacillations of tempo, differences of touch and kindred devices. When a piece is played in public very often on consecutiveoccasions—which artists avoid as much as they can—these expressions gradually assume a distinct form which is quite capable of preservation. Though it will in time lose its life-breath, it can still produce a deception just as (to draw a drastic parallel) a dead person may look as if he were only asleep. In this parallel the artist has, however, one great advantage. Since he cannot play a piece very often without having a number of errors, rearrangements, slight changes creeping into it, he must, in order to eliminate them and to cleanse the piece, return from time to time to slow practice in which he also refrains almost entirely from expression. When in the next public performance the right tempo and expression are added again they tend strongly to renew the freshness of the piece in the player's mind.
The Pianist Who Fails to Express HerselfI love music dearly and my teacher is always satisfied with my lessons, but when I play for my friends I never make a success. They compliment me, but I feel that they do not care for my playing; even my mother says that my playing is "mechanical." How can I change it?It is just possible that your friends and your mother may not be amenable to the high class of music which you play, but if this is not the case your affliction cannot be cured offhand. If the lack of expression in your playing should emanate from a lack of feeling in yourself, then your case would be incurable. If, however, you play "mechanically" because you do not know how to express your emotions in your playing—and I suspect it to be so—then you are curable, although there are no remedies that would act directly. I suggest that you form close associations with good musicians and with lovers of good music. By looking well and listening you can learn their modes of expression and employ them first by imitation until the habit of "saying something" when you play has grown upon you. I think, though, that you need an inward change before there can be any outward change.
The Pianist Who Fails to Express Herself
I love music dearly and my teacher is always satisfied with my lessons, but when I play for my friends I never make a success. They compliment me, but I feel that they do not care for my playing; even my mother says that my playing is "mechanical." How can I change it?
It is just possible that your friends and your mother may not be amenable to the high class of music which you play, but if this is not the case your affliction cannot be cured offhand. If the lack of expression in your playing should emanate from a lack of feeling in yourself, then your case would be incurable. If, however, you play "mechanically" because you do not know how to express your emotions in your playing—and I suspect it to be so—then you are curable, although there are no remedies that would act directly. I suggest that you form close associations with good musicians and with lovers of good music. By looking well and listening you can learn their modes of expression and employ them first by imitation until the habit of "saying something" when you play has grown upon you. I think, though, that you need an inward change before there can be any outward change.
The Art of Playing With FeelingIn the musical manifestations of feeling how does the artist chiefly differ from the amateur?The artist expresses his feelings with due deference to the canons of art. Above all, he plays correctly without allowing this ever-present correctness to make his playing seem lacking in feeling. Without unduly repressing or suppressing his individuality he respects the composer's intentions by punctiliously obeying every hint or suggestion he finds in the annotations, concerning speed, force, touch, changes, contrasts, etc. He delivers the composer's message truthfully. His personality or individuality reveals itself solely in the way he understands the composition and in the manner in which he executes the composer's prescriptions.Not so the amateur. Long before he is able to play the piece correctly he begins to twist and turn things in it to suit himself, under the belief, I suppose, that he is endowed with an "individuality" so strong as to justify an indulgence in all manner of "liberties," that is, licence. Feeling is a great thing; so is the will to express it; but both are worthless without ability. Hence, before playing with feeling, it were well to makesure that everything in the piece is in the right place, in the right time, strength, touch, and so forth. Correct reading—and not only of the notesper se—is a matter that every good teacher insists upon with his pupils, even in the earliest grades of advancement. The amateur should make sure of that before he allows his "feelings" to run riot. But he very seldom does.
The Art of Playing With Feeling
In the musical manifestations of feeling how does the artist chiefly differ from the amateur?
The artist expresses his feelings with due deference to the canons of art. Above all, he plays correctly without allowing this ever-present correctness to make his playing seem lacking in feeling. Without unduly repressing or suppressing his individuality he respects the composer's intentions by punctiliously obeying every hint or suggestion he finds in the annotations, concerning speed, force, touch, changes, contrasts, etc. He delivers the composer's message truthfully. His personality or individuality reveals itself solely in the way he understands the composition and in the manner in which he executes the composer's prescriptions.
Not so the amateur. Long before he is able to play the piece correctly he begins to twist and turn things in it to suit himself, under the belief, I suppose, that he is endowed with an "individuality" so strong as to justify an indulgence in all manner of "liberties," that is, licence. Feeling is a great thing; so is the will to express it; but both are worthless without ability. Hence, before playing with feeling, it were well to makesure that everything in the piece is in the right place, in the right time, strength, touch, and so forth. Correct reading—and not only of the notesper se—is a matter that every good teacher insists upon with his pupils, even in the earliest grades of advancement. The amateur should make sure of that before he allows his "feelings" to run riot. But he very seldom does.
Affected Movements at the PianoIs there any justification for the swaying of the body, the nodding of the head, the exaggerated motion of the arms, and all grotesque actions in general while playing the piano, so frequently exhibited not only by amateurs but by concert players, too?All such actions as you describe reveal a lack of the player's proper self-control when they are unconsciously indulged in. When they are consciously committed, which is not infrequently the case, they betray the pianist's effort to deflect the auditors' attention from the composition to himself, feeling probably unable to satisfy his auditors with the result of his playing and, therefore,resorting to illustration by more or less exaggerated gesture. General well-manneredness, or its absence, has a good deal to do with the matter.
Affected Movements at the Piano
Is there any justification for the swaying of the body, the nodding of the head, the exaggerated motion of the arms, and all grotesque actions in general while playing the piano, so frequently exhibited not only by amateurs but by concert players, too?
All such actions as you describe reveal a lack of the player's proper self-control when they are unconsciously indulged in. When they are consciously committed, which is not infrequently the case, they betray the pianist's effort to deflect the auditors' attention from the composition to himself, feeling probably unable to satisfy his auditors with the result of his playing and, therefore,resorting to illustration by more or less exaggerated gesture. General well-manneredness, or its absence, has a good deal to do with the matter.
Is the Piano the Hardest to Master?Do you believe that the piano is the most difficult of all instruments to master—more so than the organ or the violin? If so, why?The piano is more difficult to master than the organ, because the tone-production on the piano is not so purely mechanical as it is on the organ. The pianist's touch is the immediate producer of whatever variety or colour of tone the moment requires, whereas the organist is powerless to produce any change of tone colour except by pulling a different stop. His fingers do not and cannot produce the change. As to string instruments, their difficulties lie in an entirely different field, and this fact precludes comparison with the piano. Technically, the string instrument may be more difficult, but, to become an exponent of musical art on the piano requires deeper study, because the pianist must presentto his hearers the totality of a composition while the string instruments depend for the most part upon the accompaniments of some other instruments.
Is the Piano the Hardest to Master?
Do you believe that the piano is the most difficult of all instruments to master—more so than the organ or the violin? If so, why?
The piano is more difficult to master than the organ, because the tone-production on the piano is not so purely mechanical as it is on the organ. The pianist's touch is the immediate producer of whatever variety or colour of tone the moment requires, whereas the organist is powerless to produce any change of tone colour except by pulling a different stop. His fingers do not and cannot produce the change. As to string instruments, their difficulties lie in an entirely different field, and this fact precludes comparison with the piano. Technically, the string instrument may be more difficult, but, to become an exponent of musical art on the piano requires deeper study, because the pianist must presentto his hearers the totality of a composition while the string instruments depend for the most part upon the accompaniments of some other instruments.
Piano Study for Conductor and ComposerBeing a cornet player, and wishing to become a conductor and composer, I should like to know if the study of the piano is necessary in addition to my broad, theoretical studies and a common college course.It depends upon what you wish to conduct and what to compose. With no other means of musically expressing yourself than a cornet it is highly improbable that you will be able to write or conduct a symphony. But you may be able to lead a brass band and, perhaps, to write a march or dance piece. If your musical aims are serious by all means take to the piano.
Piano Study for Conductor and Composer
Being a cornet player, and wishing to become a conductor and composer, I should like to know if the study of the piano is necessary in addition to my broad, theoretical studies and a common college course.
It depends upon what you wish to conduct and what to compose. With no other means of musically expressing yourself than a cornet it is highly improbable that you will be able to write or conduct a symphony. But you may be able to lead a brass band and, perhaps, to write a march or dance piece. If your musical aims are serious by all means take to the piano.
Why the Piano Is So PopularWhy do more people play the piano than any other instrument?Because the rudimentary stages of music study are easier on the piano than on any other instrument. The higher stages, however, are so much more difficult, and it is then that the pianogets even with the bold aggressor. A violinist or 'cellist who can play a melody simply and with good tone is considered a fairly good amateur, for he must have mastered the difficulty of tone-production; he must have trained his right arm. A pianist who can play a melody equally well is the merest tyro. When he approaches polyphony, when the discrimination begins between the various parts speaking simultaneously, aye, then the real work begins—not to speak of velocity. It is, perhaps, for this reason that in reality there are a great many more violinists than pianists, if by either we mean persons who really master their instrument. The number of 'cellists is smaller, but the reason for this is to be found in the small range of 'cello literature and also, perhaps, in the comparative unwieldiness of the instrument, which does not admit of technical development as, for instance, the more handy violin. If all beginners at the piano realized what exasperating, harassing, discouraging, nerve-consuming difficulties await them later and beset the path to that mastery which so fewachieve, there would be far fewer piano students and more people would study the violin or the 'cello. Of the harp and the wind instruments I need not speak, because they are to be considered only in matters orchestral and not—seriously—as solo instruments.
Why the Piano Is So Popular
Why do more people play the piano than any other instrument?
Because the rudimentary stages of music study are easier on the piano than on any other instrument. The higher stages, however, are so much more difficult, and it is then that the pianogets even with the bold aggressor. A violinist or 'cellist who can play a melody simply and with good tone is considered a fairly good amateur, for he must have mastered the difficulty of tone-production; he must have trained his right arm. A pianist who can play a melody equally well is the merest tyro. When he approaches polyphony, when the discrimination begins between the various parts speaking simultaneously, aye, then the real work begins—not to speak of velocity. It is, perhaps, for this reason that in reality there are a great many more violinists than pianists, if by either we mean persons who really master their instrument. The number of 'cellists is smaller, but the reason for this is to be found in the small range of 'cello literature and also, perhaps, in the comparative unwieldiness of the instrument, which does not admit of technical development as, for instance, the more handy violin. If all beginners at the piano realized what exasperating, harassing, discouraging, nerve-consuming difficulties await them later and beset the path to that mastery which so fewachieve, there would be far fewer piano students and more people would study the violin or the 'cello. Of the harp and the wind instruments I need not speak, because they are to be considered only in matters orchestral and not—seriously—as solo instruments.
The Genuine Piano HandWhat shape of hand do you consider the best for piano playing? Mine is very broad, with rather long fingers.The best piano hand is not the popular, pretty, narrow hand with long fingers. Nearly all the great technicians had or have proportioned hands. The genuine piano hand must be broad, in order to give each finger a strong base for the action of its phalanges and to give this base space enough for the development of the various sets of muscles. The length of the fingers must be in proportion to the width of the hand, but it is the width which I consider most important.
The Genuine Piano Hand
What shape of hand do you consider the best for piano playing? Mine is very broad, with rather long fingers.
The best piano hand is not the popular, pretty, narrow hand with long fingers. Nearly all the great technicians had or have proportioned hands. The genuine piano hand must be broad, in order to give each finger a strong base for the action of its phalanges and to give this base space enough for the development of the various sets of muscles. The length of the fingers must be in proportion to the width of the hand, but it is the width which I consider most important.
The Composition Must Fit the PlayerWould you advise players with small hands to attempt the heavier class of the compositions by Liszt?Never! Whether the hands are toosmall or the stretch between the fingers too narrow—if you attempt a piece which for these or other physical reasons you cannot fully master, you always run the serious risk of overstraining. This, however, should be most carefully avoided. If you cannot play a certain piece without undue physical strain, leave it alone and remember that singers choose their songs not because they lie within their compass, but because they suit their voice. Do likewise. Be guided by the nature and the type of your hand rather than by its rapidity of execution.
The Composition Must Fit the Player
Would you advise players with small hands to attempt the heavier class of the compositions by Liszt?
Never! Whether the hands are toosmall or the stretch between the fingers too narrow—if you attempt a piece which for these or other physical reasons you cannot fully master, you always run the serious risk of overstraining. This, however, should be most carefully avoided. If you cannot play a certain piece without undue physical strain, leave it alone and remember that singers choose their songs not because they lie within their compass, but because they suit their voice. Do likewise. Be guided by the nature and the type of your hand rather than by its rapidity of execution.
The Best Physical Exercise for the PianistWhat physical exercises are most advantageous to be taken in connection with piano practice? I have been swinging clubs to strengthen wrists and arms, but have imagined it stiffened my fingers.I am inclined to think that what you imagined was not far from the truth. Can you not replace the real clubs by imaginary ones? Since club-swinging tends to develop the agility of the arms and wrists rather than their strength you can easily make the same motions without the clubs; for all exertion offorce that keeps the hands in a closed condition is bound to have a bad effect on piano playing. Undoubtedly the best exercise of all, however, is brisk walking in the open air, for it engages every part and every organ of the body, and by compelling deep breathing it fosters the general health through increased oxygenation.
The Best Physical Exercise for the Pianist
What physical exercises are most advantageous to be taken in connection with piano practice? I have been swinging clubs to strengthen wrists and arms, but have imagined it stiffened my fingers.
I am inclined to think that what you imagined was not far from the truth. Can you not replace the real clubs by imaginary ones? Since club-swinging tends to develop the agility of the arms and wrists rather than their strength you can easily make the same motions without the clubs; for all exertion offorce that keeps the hands in a closed condition is bound to have a bad effect on piano playing. Undoubtedly the best exercise of all, however, is brisk walking in the open air, for it engages every part and every organ of the body, and by compelling deep breathing it fosters the general health through increased oxygenation.
Horseback Riding Stiffens the FingersMy teacher objects to my riding horseback; not altogether, but he says I overdo it and it stiffens my fingers. Is he right?Yes, he is. Every abuse carries its own punishment in its train. The closed position of the hand, the pressure of the reins upon the fingers, as constant as it is the case in horseback riding, is surely not advantageous for the elasticity of the fingers. You should, therefore, allow the effect of one ride upon your fingers to disappear completely before you indulge in another.
Horseback Riding Stiffens the Fingers
My teacher objects to my riding horseback; not altogether, but he says I overdo it and it stiffens my fingers. Is he right?
Yes, he is. Every abuse carries its own punishment in its train. The closed position of the hand, the pressure of the reins upon the fingers, as constant as it is the case in horseback riding, is surely not advantageous for the elasticity of the fingers. You should, therefore, allow the effect of one ride upon your fingers to disappear completely before you indulge in another.
When to Keep Away from the PianoDo you think I should play and study the piano just because it is asked of me, and when I take no interest in it?Most emphatically, no! It would bea crime against yourself and against music. What little interest in music you may have left would be killed by a study that is distasteful to you, and this would be, therefore, bound to lead to failure. Leave this study to people who are sincerely interested in it. Thank heaven, there are still some of those, and there always will be some! Be sure, however, that you are really not interested, and discriminate well between a lack of interest and a mere opposition to a perhaps too strenuous urging on the part of your relatives. My advice would be to quit the study for a time entirely; if, after a while, you feel a craving for music you will find the way to your instrument. This advice, of course, holds good also for violin students or any type of music student.
When to Keep Away from the Piano
Do you think I should play and study the piano just because it is asked of me, and when I take no interest in it?
Most emphatically, no! It would bea crime against yourself and against music. What little interest in music you may have left would be killed by a study that is distasteful to you, and this would be, therefore, bound to lead to failure. Leave this study to people who are sincerely interested in it. Thank heaven, there are still some of those, and there always will be some! Be sure, however, that you are really not interested, and discriminate well between a lack of interest and a mere opposition to a perhaps too strenuous urging on the part of your relatives. My advice would be to quit the study for a time entirely; if, after a while, you feel a craving for music you will find the way to your instrument. This advice, of course, holds good also for violin students or any type of music student.
The Company That One Keeps in MusicMust I persist in playing classical pieces when I prefer to play dance music?If, in your daily life, you wish to be regarded as a lady or a gentleman you are obliged to be careful as to the company you keep. It is the same in musical life.If you associate with the noble thoughts that constitute good—or, as you call it, classical—music, you will be counted with a higher class in the world of music. Remember that you cannot go through a flour-mill without getting dusty. Of course, not all pieces of dance music are bad; but the general run of them are such poor, if not vulgar, stuff as hardly to deserve the name of "compositions." Usually they are mere "expositions" of bad taste. Of these I warn you for your own sake, and if you wish to avoid the danger of confounding the good and the bad in that line it is best to abstain from it entirely. If dance music it must be, why, have you never heard of the waltzes and mazurkas by Chopin?
The Company That One Keeps in Music
Must I persist in playing classical pieces when I prefer to play dance music?
If, in your daily life, you wish to be regarded as a lady or a gentleman you are obliged to be careful as to the company you keep. It is the same in musical life.If you associate with the noble thoughts that constitute good—or, as you call it, classical—music, you will be counted with a higher class in the world of music. Remember that you cannot go through a flour-mill without getting dusty. Of course, not all pieces of dance music are bad; but the general run of them are such poor, if not vulgar, stuff as hardly to deserve the name of "compositions." Usually they are mere "expositions" of bad taste. Of these I warn you for your own sake, and if you wish to avoid the danger of confounding the good and the bad in that line it is best to abstain from it entirely. If dance music it must be, why, have you never heard of the waltzes and mazurkas by Chopin?
Why Rag-Time Is InjuriousDo you believe the playing of the modern rag-time piece to be actually hurtful to the student?I do, indeed, unless it is done merely for a frolic; though even such a mood might vent itself in better taste. The touch with vulgarity can never be but hurtful, whatever form vulgarity may assume—whether it be literature, aperson, or a piece of music. Why share the musical food of those who are, by breeding or circumstance, debarred from anything better? The vulgar impulse which generated rag-time cannot arouse a noble impulse in response any more than "dime novels" can awaken the instincts of gentlemanliness or ladyship. If we watch the street-sweeper we are liable to get dusty. But remember that the dust on the mind and soul is not so easily removed as the dust on our clothes.
Why Rag-Time Is Injurious
Do you believe the playing of the modern rag-time piece to be actually hurtful to the student?
I do, indeed, unless it is done merely for a frolic; though even such a mood might vent itself in better taste. The touch with vulgarity can never be but hurtful, whatever form vulgarity may assume—whether it be literature, aperson, or a piece of music. Why share the musical food of those who are, by breeding or circumstance, debarred from anything better? The vulgar impulse which generated rag-time cannot arouse a noble impulse in response any more than "dime novels" can awaken the instincts of gentlemanliness or ladyship. If we watch the street-sweeper we are liable to get dusty. But remember that the dust on the mind and soul is not so easily removed as the dust on our clothes.
What the Object of Study Should BeHow can we know that our talent is great enough to warrant us in bestowing year after year of work upon its development?Pleasure and interest should be such that it is in the actual working that one is repaid. Do not think so much of the end of your work. Do not force your work with the one view of becoming a great artist. Let Providence and the future decide your standing in music. Go on studying with earnestness and interest, and find your pleasure in the endeavour, not in the accomplishment.
What the Object of Study Should Be
How can we know that our talent is great enough to warrant us in bestowing year after year of work upon its development?
Pleasure and interest should be such that it is in the actual working that one is repaid. Do not think so much of the end of your work. Do not force your work with the one view of becoming a great artist. Let Providence and the future decide your standing in music. Go on studying with earnestness and interest, and find your pleasure in the endeavour, not in the accomplishment.
The International PitchWhat is meant by "pitch" as regards piano tuning? People say that a certain piano is pitched lower than another. Would E on one piano actually sound like F on another?Yes, it would if the pianos were not pitched alike. It is only recently that an international pitch has been established which was adopted everywhere except in England. In the international pitch the A in the second space of the treble staff makes 435 vibrations a second.
The International Pitch
What is meant by "pitch" as regards piano tuning? People say that a certain piano is pitched lower than another. Would E on one piano actually sound like F on another?
Yes, it would if the pianos were not pitched alike. It is only recently that an international pitch has been established which was adopted everywhere except in England. In the international pitch the A in the second space of the treble staff makes 435 vibrations a second.
The "International" Piano PitchWhich piano pitch is preferable, "concert" or "international"?By all means the "international," because it will fit your piano to be used in conjunction with any other instrument, no matter whence it may come. Besides, the international pitch was decided upon as far back as 1859, in Paris, by a government commission, numbering among its members such men as Auber, Halévy, Berlioz, Meyerbeer, Rossini, Ambroise Thomas, and many physicists and army generals. You can easily infer from this that, in determining that theA in the second space of the treble staff should have 435 vibrations a second, all phases of music—vocal, instrumental, string, brass, wood, wind—have been duly considered.
The "International" Piano Pitch
Which piano pitch is preferable, "concert" or "international"?
By all means the "international," because it will fit your piano to be used in conjunction with any other instrument, no matter whence it may come. Besides, the international pitch was decided upon as far back as 1859, in Paris, by a government commission, numbering among its members such men as Auber, Halévy, Berlioz, Meyerbeer, Rossini, Ambroise Thomas, and many physicists and army generals. You can easily infer from this that, in determining that theA in the second space of the treble staff should have 435 vibrations a second, all phases of music—vocal, instrumental, string, brass, wood, wind—have been duly considered.
The Well-Tempered Piano ScaleIs there really a difference of three-eighths of a tone between A-sharp and B-flat on the piano?There is no difference on the piano. But acoustically there is a difference, over which, however, I would waste no time, since the evenly-tempered scale has been generally adopted, and every composition from Bach's time to the present day has been thought and written in it.
The Well-Tempered Piano Scale
Is there really a difference of three-eighths of a tone between A-sharp and B-flat on the piano?
There is no difference on the piano. But acoustically there is a difference, over which, however, I would waste no time, since the evenly-tempered scale has been generally adopted, and every composition from Bach's time to the present day has been thought and written in it.
The "Colour" of Various KeysIs it not a mistaken idea that any one particular key is more or less rich or melodious than another?The effect of a tonality upon our hearing lies not in its signature (as even Beethoven seemed to believe) but in the vibration proportions. It is, therefore, irrelevant whether we play a piece upon a high-pitched piano in C, or upon a low-pitched piano in D flat. There are certain keyspreferable to others for certain colours, but I fear that the preference is based not upon acoustic qualities but rather upon a fitness for the hand or voice. We apply the word "colour" as much to tone as the painters apply "tone" to colour, but I hardly think that anybody would speak of C major as representing black, or F major green.
The "Colour" of Various Keys
Is it not a mistaken idea that any one particular key is more or less rich or melodious than another?
The effect of a tonality upon our hearing lies not in its signature (as even Beethoven seemed to believe) but in the vibration proportions. It is, therefore, irrelevant whether we play a piece upon a high-pitched piano in C, or upon a low-pitched piano in D flat. There are certain keyspreferable to others for certain colours, but I fear that the preference is based not upon acoustic qualities but rather upon a fitness for the hand or voice. We apply the word "colour" as much to tone as the painters apply "tone" to colour, but I hardly think that anybody would speak of C major as representing black, or F major green.
Starting a Child's Musical TrainingAt what age should a child begin the study of instrumental music? If my daughter (six years old) is to study the violin should she first spend a few years with the piano, orvice versa?The usual age for a child to begin the study of music is between six and seven years. A pianist hardly needs to learn another instrument to become a well-rounded musician, but violinists, as well as the players of all other instruments, and also vocalists, will be much hampered in their general musical development if they fail to acquire what may be called a speaking acquaintance with the piano.
Starting a Child's Musical Training
At what age should a child begin the study of instrumental music? If my daughter (six years old) is to study the violin should she first spend a few years with the piano, orvice versa?
The usual age for a child to begin the study of music is between six and seven years. A pianist hardly needs to learn another instrument to become a well-rounded musician, but violinists, as well as the players of all other instruments, and also vocalists, will be much hampered in their general musical development if they fail to acquire what may be called a speaking acquaintance with the piano.
Age of the Student is ImmaterialI am not longer in my first youth, cannot take more than one hour's lesson a week, and cannot practise more than three hours a day. Would you still advise me to begin the study of the piano?Provided there is gift and intelligence, the will, and the opportunity to study, age need not stand in your way. If your three hours of study are properly used, and your hour's lesson a week is with a good teacher, you should not become discouraged.
Age of the Student is Immaterial
I am not longer in my first youth, cannot take more than one hour's lesson a week, and cannot practise more than three hours a day. Would you still advise me to begin the study of the piano?
Provided there is gift and intelligence, the will, and the opportunity to study, age need not stand in your way. If your three hours of study are properly used, and your hour's lesson a week is with a good teacher, you should not become discouraged.
Twenty-five Not Too Late to BeginDo you think that mastery of the piano is unlikely or impossible when the beginner is twenty-five years of age?It is neither unlikely nor impossible. Your age will to some degree handicap you, because from purely physical causes the elasticity of the fingers and wrists could be developed much more quickly if you were ten years younger. If, however, you are endowed with strong musical gifts in the abstract you will achieve results superior to those attained by younger people with less talent. In overcoming the difficulties due to a latebeginning you will find great inward satisfaction, and your attainments are bound to be a source of joy to you.
Twenty-five Not Too Late to Begin
Do you think that mastery of the piano is unlikely or impossible when the beginner is twenty-five years of age?
It is neither unlikely nor impossible. Your age will to some degree handicap you, because from purely physical causes the elasticity of the fingers and wrists could be developed much more quickly if you were ten years younger. If, however, you are endowed with strong musical gifts in the abstract you will achieve results superior to those attained by younger people with less talent. In overcoming the difficulties due to a latebeginning you will find great inward satisfaction, and your attainments are bound to be a source of joy to you.
The Importance of the Right TeacherI have a son who is very desirous of learning to play the piano. I have been advised that an ordinarily good teacher is good enough to begin with. Others tell me a beginner should get the best teacher possible. Which would you advise? I live in a small town.The seriousness of your question is aggravated by the statement that you live in a small town, and that there is possibly no teacher of ability to be found in your town. And yet it is only such a one that I can recommend for your son. For nothing is more dangerous for the development of a talent than a bad foundation. Many people have tried all their lives to rid themselves of the bad habits acquired from an ignorant teacher in the rudimentary stages of their studies, and have failed. I should advise you to try your best to send your boy to some near-by city where there is an excellent teacher.
The Importance of the Right Teacher
I have a son who is very desirous of learning to play the piano. I have been advised that an ordinarily good teacher is good enough to begin with. Others tell me a beginner should get the best teacher possible. Which would you advise? I live in a small town.
The seriousness of your question is aggravated by the statement that you live in a small town, and that there is possibly no teacher of ability to be found in your town. And yet it is only such a one that I can recommend for your son. For nothing is more dangerous for the development of a talent than a bad foundation. Many people have tried all their lives to rid themselves of the bad habits acquired from an ignorant teacher in the rudimentary stages of their studies, and have failed. I should advise you to try your best to send your boy to some near-by city where there is an excellent teacher.
Nothing But the Best Will DoWishing to begin the study of the piano now, in my twenty-fourth year, just for the sake of my great love for music, and knowing not even the notes, is it necessary to go to an expensive teacher at once or would a cheaper teacher do for the beginning?If music is to be merely a pastime, and you content yourself with a minimum of knowledge, the cheaper teacher will do; but if you aspire to become musical in a better sense, why, by all means, apply to a teacher of the better class. The maxim: "For the beginning this or that is good enough," is one of the most harmful fallacies. What would you think of an architect who says: "For the foundation loam is good enough; we put a sandstone house over it, any way." Remember also, that the road a cheaper teacher has led you to take must usually be retraced when your aspirations rise toward the better in music.
Nothing But the Best Will Do
Wishing to begin the study of the piano now, in my twenty-fourth year, just for the sake of my great love for music, and knowing not even the notes, is it necessary to go to an expensive teacher at once or would a cheaper teacher do for the beginning?
If music is to be merely a pastime, and you content yourself with a minimum of knowledge, the cheaper teacher will do; but if you aspire to become musical in a better sense, why, by all means, apply to a teacher of the better class. The maxim: "For the beginning this or that is good enough," is one of the most harmful fallacies. What would you think of an architect who says: "For the foundation loam is good enough; we put a sandstone house over it, any way." Remember also, that the road a cheaper teacher has led you to take must usually be retraced when your aspirations rise toward the better in music.
Music Schools and Private TeachersShall I take my lessons in a music school or from a private teacher?Music schools are very good for acquiring a general musical education.For the higher study of an executive specialty (piano, violin, the voice, etc.) I should naturally prefer private instruction from a specialist, because he can give more attention to each individual pupil than is possible under the wholesale system followed, not by all, but by the majority of music schools. What I should advise would be a combination: General matters—harmony, counterpoint, forms, history, and æsthetics—in a music school; and private lessons for your specialty from a teacher who has an established name as an executive artist. The best music schools have such a man at their head, and in these you find the best combination.
Music Schools and Private Teachers
Shall I take my lessons in a music school or from a private teacher?
Music schools are very good for acquiring a general musical education.For the higher study of an executive specialty (piano, violin, the voice, etc.) I should naturally prefer private instruction from a specialist, because he can give more attention to each individual pupil than is possible under the wholesale system followed, not by all, but by the majority of music schools. What I should advise would be a combination: General matters—harmony, counterpoint, forms, history, and æsthetics—in a music school; and private lessons for your specialty from a teacher who has an established name as an executive artist. The best music schools have such a man at their head, and in these you find the best combination.
Individual Teacher, or Conservatory?After taking lessons for five years and a half from a good teacher, would you advise a continuance with the individual teacher or attendance at a college of music or conservatory?For a general musical education I always recommend a good music school or conservatory. For the study of the piano I think it best to take private lessons from an artist who is experiencedboth as an executant and as a teacher. Some music schools have such men on their staff, if not, indeed, at their head.
Individual Teacher, or Conservatory?
After taking lessons for five years and a half from a good teacher, would you advise a continuance with the individual teacher or attendance at a college of music or conservatory?
For a general musical education I always recommend a good music school or conservatory. For the study of the piano I think it best to take private lessons from an artist who is experiencedboth as an executant and as a teacher. Some music schools have such men on their staff, if not, indeed, at their head.
Where Outside Criticism Is DesirableHaving had twenty months' lessons and having now mastered Etudes by Berens, opus 61, by Heller, opus 47, and Smith's Octave Studies, do you think I am justified in continuing my lessons?Assuming that you have really "mastered" the works you mention I can only encourage you to continue your lessons; I would, however, advise you to obtain an experienced pianist's criticism in order to assure yourself that your idea of "mastering" is right.
Where Outside Criticism Is Desirable
Having had twenty months' lessons and having now mastered Etudes by Berens, opus 61, by Heller, opus 47, and Smith's Octave Studies, do you think I am justified in continuing my lessons?
Assuming that you have really "mastered" the works you mention I can only encourage you to continue your lessons; I would, however, advise you to obtain an experienced pianist's criticism in order to assure yourself that your idea of "mastering" is right.
The Sex of the Piano TeacherIs there any preference as to sex in the question of choosing a piano teacher; in other words, is a woman teacher preferable for any reason for a girl and a man teacher for a man?Your question does not admit of generalization from a purely musical point of view. It must be—on this premise—decided by the quality, not by the sex, of the teacher. A good feminine teacher is better than a bad masculine one, andvice versa. The question of sex does not enter into the matter. Of course, the greater number of eminent teachers are found on the masculine side.
The Sex of the Piano Teacher
Is there any preference as to sex in the question of choosing a piano teacher; in other words, is a woman teacher preferable for any reason for a girl and a man teacher for a man?
Your question does not admit of generalization from a purely musical point of view. It must be—on this premise—decided by the quality, not by the sex, of the teacher. A good feminine teacher is better than a bad masculine one, andvice versa. The question of sex does not enter into the matter. Of course, the greater number of eminent teachers are found on the masculine side.
Too Much "Method"My recently engaged teacher says that the word "method" jars on her nerves. Kindly advise me whether a method is not the best thing for a novice, and, if so, which one?Your teacher, while possibly a little over-sensitive, is not wrong. America is the most method-ridden country in the world. Most of the methods in vogue contain some good points—about a grain of truth to a ton of mere ballast. Your teacher's utterance makes me think that you were lucky in finding her, and that you have excellent reason to trust in her guidance.
Too Much "Method"
My recently engaged teacher says that the word "method" jars on her nerves. Kindly advise me whether a method is not the best thing for a novice, and, if so, which one?
Your teacher, while possibly a little over-sensitive, is not wrong. America is the most method-ridden country in the world. Most of the methods in vogue contain some good points—about a grain of truth to a ton of mere ballast. Your teacher's utterance makes me think that you were lucky in finding her, and that you have excellent reason to trust in her guidance.
What the Leschetizky Method IsHow does the Leschetizky method rank with other methods, and in what respect does it differ from them?There are but two methods in all the arts: a good one and a bad one. Since you do not specify with what "other" methods you wish to compare that ofLeschetizky I cannot answer you with definiteness. There are, alas, so many "methods"! But the majority of them are based upon a deliberate disregard for that reverence which is due to great compositions and to the example of their rendition given by great interpreters. I have not studied with Leschetizky, but I think that he believes in a very low position of the hand and a sort of super-energetic tension of the tendons of the arms and hands.
What the Leschetizky Method Is
How does the Leschetizky method rank with other methods, and in what respect does it differ from them?
There are but two methods in all the arts: a good one and a bad one. Since you do not specify with what "other" methods you wish to compare that ofLeschetizky I cannot answer you with definiteness. There are, alas, so many "methods"! But the majority of them are based upon a deliberate disregard for that reverence which is due to great compositions and to the example of their rendition given by great interpreters. I have not studied with Leschetizky, but I think that he believes in a very low position of the hand and a sort of super-energetic tension of the tendons of the arms and hands.
Give Your Teacher a Fair TrialHas a young pupil, after studying the piano irregularly for two months, tested fairly a teacher's ability?Of course not! Altogether I do not like the idea of a pupil's testing his teacher's ability, rather the reverse. He may possibly find his teacher unsympathetic, but even this matter he is apt to judge prematurely. In most cases of irregularly attended or poorly prepared lessons the lack of sympathy means nothing more than that the pupil is a trifler and the teacher's honesty of purpose is not to his taste.
Give Your Teacher a Fair Trial
Has a young pupil, after studying the piano irregularly for two months, tested fairly a teacher's ability?
Of course not! Altogether I do not like the idea of a pupil's testing his teacher's ability, rather the reverse. He may possibly find his teacher unsympathetic, but even this matter he is apt to judge prematurely. In most cases of irregularly attended or poorly prepared lessons the lack of sympathy means nothing more than that the pupil is a trifler and the teacher's honesty of purpose is not to his taste.
Either Trust Your Teacher or Get a New OneI have a "Piano Method," left over from lessons with my first teacher; it was very expensive, and I learned only a few pages of it. We moved to a different city and my new teacher objects to using the book, or, as she says, any such book. I do not know what to do about it, and would thank you for your advice.When you apply to a teacher for instruction you must, first of all, decide in your own mind whether you have or have not absolute confidence in his ability. If you trust him you must do as you are advised to do; if not, you must apply to another teacher. A book, costing much or little, plays no part in the matter. By what you say of the new teacher, however, I am disposed to think that he is better than the first one.
Either Trust Your Teacher or Get a New One
I have a "Piano Method," left over from lessons with my first teacher; it was very expensive, and I learned only a few pages of it. We moved to a different city and my new teacher objects to using the book, or, as she says, any such book. I do not know what to do about it, and would thank you for your advice.
When you apply to a teacher for instruction you must, first of all, decide in your own mind whether you have or have not absolute confidence in his ability. If you trust him you must do as you are advised to do; if not, you must apply to another teacher. A book, costing much or little, plays no part in the matter. By what you say of the new teacher, however, I am disposed to think that he is better than the first one.
The Proper Course For a Little GirlCommencing piano lessons with my seven-year-old daughter, should I devote my efforts to the development of the fingers and hands, or retard such development so as to keep pace with the expansion of the mind?Your question is interesting. But ifyour mind is clear on that point—and it seems to be—that a one-sided development (in this case technical) is dangerous to the "musical" talent of your little daughter, why, then, your little girl is, indeed, "out of danger." Your very question is a credit to your insight.
The Proper Course For a Little Girl
Commencing piano lessons with my seven-year-old daughter, should I devote my efforts to the development of the fingers and hands, or retard such development so as to keep pace with the expansion of the mind?
Your question is interesting. But ifyour mind is clear on that point—and it seems to be—that a one-sided development (in this case technical) is dangerous to the "musical" talent of your little daughter, why, then, your little girl is, indeed, "out of danger." Your very question is a credit to your insight.
Frequent Lessons and ShorterIs it better for a young student to take one hour lesson or two half-hour lessons a week?Since young students are liable to form bad habits it is essential that they should come under the teacher's eye as frequently as possible. Hence, it is preferable to divide the hour into two equidistant parts.
Frequent Lessons and Shorter
Is it better for a young student to take one hour lesson or two half-hour lessons a week?
Since young students are liable to form bad habits it is essential that they should come under the teacher's eye as frequently as possible. Hence, it is preferable to divide the hour into two equidistant parts.
Number of Lessons Depends on ProgressWhich plan is better for a child of eleven or twelve years: to take a one-hour lesson or two half-hour lessons a week?The child's age is not the determining factor in this matter; it is his musical status.
Number of Lessons Depends on Progress
Which plan is better for a child of eleven or twelve years: to take a one-hour lesson or two half-hour lessons a week?
The child's age is not the determining factor in this matter; it is his musical status.
One Lesson a WeekIs one lesson a week inadequate for a piano student?It will be sufficient in the more advanced stages of piano study. In theearlier stages, however, where the danger of forming bad habits is greatest, it is best to bring the pupil under his teacher's eye twice a week at the very least.
One Lesson a Week
Is one lesson a week inadequate for a piano student?
It will be sufficient in the more advanced stages of piano study. In theearlier stages, however, where the danger of forming bad habits is greatest, it is best to bring the pupil under his teacher's eye twice a week at the very least.
Better Not Give the Child "Modified Classics"What little classics are best for a child after six months' lessons?There are collections without number of facilitated or simplified arrangements of classic pieces, but I do not altogether approve of them. Let the classics wait until the child is technically—and, above all, mentally—ripe to approach such works as they are written.
Better Not Give the Child "Modified Classics"
What little classics are best for a child after six months' lessons?
There are collections without number of facilitated or simplified arrangements of classic pieces, but I do not altogether approve of them. Let the classics wait until the child is technically—and, above all, mentally—ripe to approach such works as they are written.
Can Music Be Studied in America?Is it necessary for me to go to Europe to continue my music studies?If you have very much money to spare, why not? You will see much, also hear much—and some of it not quite so sublime as you anticipated—and, last but not least, you will have "studied abroad." While this slogan still exercises a certain charm upon some people in America, their number is growing less year by year, because the public has begun to understand that the United States affords just as good instruction inmusic as Europe does. It has also been found out that to "study abroad" is by no means a guarantee of a triumphant return. Many a young student who went abroad as a lamb returned as a mutton-head. And why should there not be excellent teachers in America by this time? Even if you should insist upon a European teacher you can find many of the best in America. Is it not simpler that one teacher from Europe go to America to teach a hundred students than that a hundred students should make the trip for the sake of one teacher? I should advise you to stay where you are or go to Philadelphia, New York, or Boston, where you can find excellent teachers, native, resident Americans and foreigners. To quote a case in point, let me say that in Berlin I found Godowsky's pupils to be almost exclusively Americans. They came from various sections of America to study with him and with no one else. But during the eighteen years he spent in Chicago they did not seem to want him. Perhaps he was too near by! Why this self-deception? Without mentioning any names I assure you thatthere are many teachers in America now who, if they should go to Europe, would draw a host of students after them, and some of these excellent men I know personally. It is high time to put an end to the superstitious belief in "studying abroad."
Can Music Be Studied in America?
Is it necessary for me to go to Europe to continue my music studies?
If you have very much money to spare, why not? You will see much, also hear much—and some of it not quite so sublime as you anticipated—and, last but not least, you will have "studied abroad." While this slogan still exercises a certain charm upon some people in America, their number is growing less year by year, because the public has begun to understand that the United States affords just as good instruction inmusic as Europe does. It has also been found out that to "study abroad" is by no means a guarantee of a triumphant return. Many a young student who went abroad as a lamb returned as a mutton-head. And why should there not be excellent teachers in America by this time? Even if you should insist upon a European teacher you can find many of the best in America. Is it not simpler that one teacher from Europe go to America to teach a hundred students than that a hundred students should make the trip for the sake of one teacher? I should advise you to stay where you are or go to Philadelphia, New York, or Boston, where you can find excellent teachers, native, resident Americans and foreigners. To quote a case in point, let me say that in Berlin I found Godowsky's pupils to be almost exclusively Americans. They came from various sections of America to study with him and with no one else. But during the eighteen years he spent in Chicago they did not seem to want him. Perhaps he was too near by! Why this self-deception? Without mentioning any names I assure you thatthere are many teachers in America now who, if they should go to Europe, would draw a host of students after them, and some of these excellent men I know personally. It is high time to put an end to the superstitious belief in "studying abroad."
Organizing a Musical ClubPlease give me the name of a good book on musical history and advise me how to organize and conduct a musical club among my pupils. Also give me a name, please.You will find the "History of Music," by Baltzell, a serviceable book. As a name for your club I suggest that of the patron saint of music—Saint Cecilia—perhaps, or that of a great composer. Ask the secretaries of a number of musical clubs for their constitutions and by-laws and then adapt these to your locality and circumstances. Make your pupils feel that it is their club and act, yourself, as secretary, if possible.
Organizing a Musical Club
Please give me the name of a good book on musical history and advise me how to organize and conduct a musical club among my pupils. Also give me a name, please.
You will find the "History of Music," by Baltzell, a serviceable book. As a name for your club I suggest that of the patron saint of music—Saint Cecilia—perhaps, or that of a great composer. Ask the secretaries of a number of musical clubs for their constitutions and by-laws and then adapt these to your locality and circumstances. Make your pupils feel that it is their club and act, yourself, as secretary, if possible.
How to Get Music PublishedPlease explain how to go about publishing a piece of music, and also give the name of some good publishing houses.It is very easy to publish a piece of music if the publisher sees any merit in it. Send your piece to any publishing house whose name you find on the title pages of your sheet music. The readers or advisers of the house will report to their chief as to the merit of your piece, and he will then decide and negotiate with you, if his decision is favourable. If he should not care for it he will return your manuscript and you may try some other house. I advise you, however, to obtain the opinion of a good musician before you send your piece to a publisher.
How to Get Music Published
Please explain how to go about publishing a piece of music, and also give the name of some good publishing houses.
It is very easy to publish a piece of music if the publisher sees any merit in it. Send your piece to any publishing house whose name you find on the title pages of your sheet music. The readers or advisers of the house will report to their chief as to the merit of your piece, and he will then decide and negotiate with you, if his decision is favourable. If he should not care for it he will return your manuscript and you may try some other house. I advise you, however, to obtain the opinion of a good musician before you send your piece to a publisher.
"Playing in Time" and "Playing in Rhythm"What is the difference between playing "in time" and playing "in rhythm"?Playing in rhythm refers to the inner life of a composition—to its musical pulsation. Playing in time means the prompt arrival upon those points of repose which are conditioned by the rhythm.
"Playing in Time" and "Playing in Rhythm"
What is the difference between playing "in time" and playing "in rhythm"?
Playing in rhythm refers to the inner life of a composition—to its musical pulsation. Playing in time means the prompt arrival upon those points of repose which are conditioned by the rhythm.
The Student Who Cannot Play Fast MusicI find great difficulty in playing anything that goes quick, though in a more moderate tempo I can play my pieces faultlessly. Every teacher I had promised to develop my speed, but they allfailed. Can you give me a hint how to overcome my difficulty?Quickness of action, of motion, even of resolution, cannot be acquired by training alone; it must partly be inborn. I assume that your piano-playing is one phase of a general slowness. There is but one remedy for that. You have relied upon your teachers to develop your speed—you should have relied upon your own will-power. Try to will it and to will it often; you will see the ability keep step with the exertions of your will.
The Student Who Cannot Play Fast Music
I find great difficulty in playing anything that goes quick, though in a more moderate tempo I can play my pieces faultlessly. Every teacher I had promised to develop my speed, but they allfailed. Can you give me a hint how to overcome my difficulty?
Quickness of action, of motion, even of resolution, cannot be acquired by training alone; it must partly be inborn. I assume that your piano-playing is one phase of a general slowness. There is but one remedy for that. You have relied upon your teachers to develop your speed—you should have relied upon your own will-power. Try to will it and to will it often; you will see the ability keep step with the exertions of your will.
"Wonder-Children" as PianistsMy child of five years of age shows signs of great talent for music. He has a keen, true ear, and plays rather well for his age. Does this justify me in hoping that something out of the ordinary will become of him? They say that so-called "wonder-children" never amount to anything in later life.That "wonder-children" never amount to anything in later life is not borne out by history. If some are disappointments it is either because they astonished by mere executive precocity, instead ofcharming by their talent, or because they were ruined by unscrupulous parents or managers who confounded the promise of a future with its realization. But, aside from these few, all great musicians were "wonder-children," whether they became composers, pianists, violinists, 'cellists, or what not. The biographies of our great masters of the past centuries as well as those of more recent times (Mendelssohn, Wagner, Chopin, Schumann, Liszt, Rubinstein, and all the others), will bear me out in this statement. If your child shows more than mere precocity—if, for instance, he does not merely play in his fifth year what others play in their tenth, but shows qualities of musical superiority—then you may with a fair degree of certainty feel hopeful of a fine musical future for him.
"Wonder-Children" as Pianists
My child of five years of age shows signs of great talent for music. He has a keen, true ear, and plays rather well for his age. Does this justify me in hoping that something out of the ordinary will become of him? They say that so-called "wonder-children" never amount to anything in later life.
That "wonder-children" never amount to anything in later life is not borne out by history. If some are disappointments it is either because they astonished by mere executive precocity, instead ofcharming by their talent, or because they were ruined by unscrupulous parents or managers who confounded the promise of a future with its realization. But, aside from these few, all great musicians were "wonder-children," whether they became composers, pianists, violinists, 'cellists, or what not. The biographies of our great masters of the past centuries as well as those of more recent times (Mendelssohn, Wagner, Chopin, Schumann, Liszt, Rubinstein, and all the others), will bear me out in this statement. If your child shows more than mere precocity—if, for instance, he does not merely play in his fifth year what others play in their tenth, but shows qualities of musical superiority—then you may with a fair degree of certainty feel hopeful of a fine musical future for him.
The Value of Going to ConcertsShall I attend orchestra concerts or shall I give preference to soloists?By all means attend orchestra and chamber-music concerts! For these will acquaint you with those works which are, after all, of the greatest importance to the student. Besides, you will usuallyhear more correct interpretations than from soloists. The latter, with some luminous exceptions, overestimate their own authority and take such unseemly liberties that in many cases you hear more Smith, Jones, or Levy than Beethoven, Schumann, or Chopin. Individuality in a soloist is certainly a great quality, but only if it is tempered by a proper deference to the composer of the work in hand. If you cannot hear a soloist who is capable of sinking his individuality in the thought, mood, and style of the composer he is interpreting—and this is given to only the very greatest—you do far better to prefer to the "individual" renditions of a soloist the "collective" renditions of the orchestra or string quartette. The synthetic nature of the orchestra forestalls the extravagances of so-called individuality and insures, generally speaking, a truthful interpretation. The very worst conductor imaginable cannot do as much harm to a composition as can a mediocre soloist, for an orchestra is a large body and, therefore, not so easily moved and shifted from the path of musical rectitudeas is a single voice or an instrument. A really great soloist is, of course, the finest flower of the garden of applied music, for his touch with the instrument is immediate and he needs no middleman to express the finest shades of his conceptions; while the conductor—and even the best—has to impart his conception (through the baton, facial expression, and gesture) to other people before it can become audible, and on this circuitous route much of the original fervour and ardour may be lost. But there are more good orchestras than great soloists, and hence you are safe in attending orchestra and chamber-music concerts.
The Value of Going to Concerts
Shall I attend orchestra concerts or shall I give preference to soloists?
By all means attend orchestra and chamber-music concerts! For these will acquaint you with those works which are, after all, of the greatest importance to the student. Besides, you will usuallyhear more correct interpretations than from soloists. The latter, with some luminous exceptions, overestimate their own authority and take such unseemly liberties that in many cases you hear more Smith, Jones, or Levy than Beethoven, Schumann, or Chopin. Individuality in a soloist is certainly a great quality, but only if it is tempered by a proper deference to the composer of the work in hand. If you cannot hear a soloist who is capable of sinking his individuality in the thought, mood, and style of the composer he is interpreting—and this is given to only the very greatest—you do far better to prefer to the "individual" renditions of a soloist the "collective" renditions of the orchestra or string quartette. The synthetic nature of the orchestra forestalls the extravagances of so-called individuality and insures, generally speaking, a truthful interpretation. The very worst conductor imaginable cannot do as much harm to a composition as can a mediocre soloist, for an orchestra is a large body and, therefore, not so easily moved and shifted from the path of musical rectitudeas is a single voice or an instrument. A really great soloist is, of course, the finest flower of the garden of applied music, for his touch with the instrument is immediate and he needs no middleman to express the finest shades of his conceptions; while the conductor—and even the best—has to impart his conception (through the baton, facial expression, and gesture) to other people before it can become audible, and on this circuitous route much of the original fervour and ardour may be lost. But there are more good orchestras than great soloists, and hence you are safe in attending orchestra and chamber-music concerts.
Books That Aid the Student Working AloneCompelled to study without a teacher for two years before I can go to a conservatory, what method should I study for my technique and what pieces?You fail to say whether you are a beginner or already somewhat advanced. Still, I think it safe to recommend Mason's "Touch and Technique," Sternberg's Etudes, opus 66; and select your pieces from the graded catalogues which any publisher will be glad to send you.
Books That Aid the Student Working Alone
Compelled to study without a teacher for two years before I can go to a conservatory, what method should I study for my technique and what pieces?
You fail to say whether you are a beginner or already somewhat advanced. Still, I think it safe to recommend Mason's "Touch and Technique," Sternberg's Etudes, opus 66; and select your pieces from the graded catalogues which any publisher will be glad to send you.
Music as a Profession or as an AvocationWould you advise a young man with a good foundation to choose music—that is, concertizing—as a career, or should he keep his music as an accomplishment and avocation?Your distinguishing between music and concertizing gives direction to my reply; that the question was not answered by your own heart before you asked it prompts me to advise music for you as an avocation. The artist's career nowadays is not so simple as it appears to be. Of a thousand capable musicians there is, perhaps, one who attains to a general reputation and fortune. The rest of them, after spending money, time, and toil, give up in despair, and with an embittered disposition take up some other occupation. If you do not depend upon public music-making for a living; if your natural endowments are not of a very unusually high order, and if your entire personality does not imply the exercise of authority over assemblages of people—spiritual authority, I mean—it were better to enjoy your music in the circle of your friends. It is less risky and will, in all probability, give you much greater satisfaction.
Music as a Profession or as an Avocation
Would you advise a young man with a good foundation to choose music—that is, concertizing—as a career, or should he keep his music as an accomplishment and avocation?
Your distinguishing between music and concertizing gives direction to my reply; that the question was not answered by your own heart before you asked it prompts me to advise music for you as an avocation. The artist's career nowadays is not so simple as it appears to be. Of a thousand capable musicians there is, perhaps, one who attains to a general reputation and fortune. The rest of them, after spending money, time, and toil, give up in despair, and with an embittered disposition take up some other occupation. If you do not depend upon public music-making for a living; if your natural endowments are not of a very unusually high order, and if your entire personality does not imply the exercise of authority over assemblages of people—spiritual authority, I mean—it were better to enjoy your music in the circle of your friends. It is less risky and will, in all probability, give you much greater satisfaction.
How Much You Can Get From MusicWhen I hear a concert pianist I want to get more from his playing than æsthetic ear enjoyment. Can you give me a little outline of points for which to look that may help me in my piano study?There is no pleasure or enjoyment from which we can derive more than we bring with us in the way of receptiveness. As you deepen your study of music and gain insight into its forms, contrapuntal work and harmonic beauties you will derive more and more pleasure from listening to a good pianist the deeper your studies go. What their playing reflects of emotional life you will perceive in the exact measure of your own grasp upon life. Art is a medium connecting, like a telegraph, two stations: the sender of a message and the receiver. Both must be pitched equally high to make the communication perfect.
How Much You Can Get From Music
When I hear a concert pianist I want to get more from his playing than æsthetic ear enjoyment. Can you give me a little outline of points for which to look that may help me in my piano study?
There is no pleasure or enjoyment from which we can derive more than we bring with us in the way of receptiveness. As you deepen your study of music and gain insight into its forms, contrapuntal work and harmonic beauties you will derive more and more pleasure from listening to a good pianist the deeper your studies go. What their playing reflects of emotional life you will perceive in the exact measure of your own grasp upon life. Art is a medium connecting, like a telegraph, two stations: the sender of a message and the receiver. Both must be pitched equally high to make the communication perfect.
"It is So Much Easier to Read Flats Than Sharps!"You would confer a favour upon a teacher by solving a problem for her that has puzzled her all her life; why do all pupils prefer flats to sharps? I am not at all sure that I do not, in somedegree, share this preference. Is it a fault of training, or has it any other cause?Your question is both original and well justified by frequent observation, for it is quite true that people prefer to read flats to sharps. But note it well that the aversion to sharps refers only to the reading, not to the playing. If any one should find it harder toplayin sharps, say, after knowing the notes well, it would be a purely subjective deception, due to a mental association of the note-picture with the respective sounds. My personal belief is that the aversion to thereadingof sharps is caused by the comparative complexity of the sign itself, and this leads me to think that the whole matter belongs rather to ophthalmology than to either acoustics or music.
"It is So Much Easier to Read Flats Than Sharps!"
You would confer a favour upon a teacher by solving a problem for her that has puzzled her all her life; why do all pupils prefer flats to sharps? I am not at all sure that I do not, in somedegree, share this preference. Is it a fault of training, or has it any other cause?
Your question is both original and well justified by frequent observation, for it is quite true that people prefer to read flats to sharps. But note it well that the aversion to sharps refers only to the reading, not to the playing. If any one should find it harder toplayin sharps, say, after knowing the notes well, it would be a purely subjective deception, due to a mental association of the note-picture with the respective sounds. My personal belief is that the aversion to thereadingof sharps is caused by the comparative complexity of the sign itself, and this leads me to think that the whole matter belongs rather to ophthalmology than to either acoustics or music.
Rubinstein or Liszt—Which the Greater?As between Liszt and Rubinstein, whom do you consider the greater?Rubinstein I knew very well (I was his pupil), and have heard him play a great many times. Liszt, who died when I was sixteen years old and had notappeared in public for some twenty years previously, I never met and never heard. Still, from the descriptions which many of my friends gave me of him, and from the study of his works, I have been able to form a fair idea of his playing and his personality. As a virtuoso I think Liszt stood above Rubinstein, for his playing must have possessed amazing, dazzling qualities. Rubinstein excelled by his sincerity, by his demoniacal, Heaven-storming power of great impassionedness, qualities which with Liszt had passed through the sieve of a superior education and—if you understand how I mean that term—gentlemanly elegance. He was, in the highest meaning of the word, a man of the world; Rubinstein, a world-stormer, with a sovereign disregard for conventionality and for Mrs. Grundy. The principal difference lay in the characters of the two. As musicians, with regard to their natural endowments and ability, they were probably of the same gigantic calibre, such as we would seek in vain at the present time.
Rubinstein or Liszt—Which the Greater?
As between Liszt and Rubinstein, whom do you consider the greater?
Rubinstein I knew very well (I was his pupil), and have heard him play a great many times. Liszt, who died when I was sixteen years old and had notappeared in public for some twenty years previously, I never met and never heard. Still, from the descriptions which many of my friends gave me of him, and from the study of his works, I have been able to form a fair idea of his playing and his personality. As a virtuoso I think Liszt stood above Rubinstein, for his playing must have possessed amazing, dazzling qualities. Rubinstein excelled by his sincerity, by his demoniacal, Heaven-storming power of great impassionedness, qualities which with Liszt had passed through the sieve of a superior education and—if you understand how I mean that term—gentlemanly elegance. He was, in the highest meaning of the word, a man of the world; Rubinstein, a world-stormer, with a sovereign disregard for conventionality and for Mrs. Grundy. The principal difference lay in the characters of the two. As musicians, with regard to their natural endowments and ability, they were probably of the same gigantic calibre, such as we would seek in vain at the present time.
As to One Composer—Excluding All OthersIf I am deeply interested in Beethoven's music can I not find in him all that there is in music, in both an æsthetic and a technical sense? Is any one's music more profound?You imagine yourself in an impenetrable stronghold whence, safe from all attacks, you may look upon all composers (except Beethoven) with a patronizing, condescending smile. But you are gravely in error. Life is too rich in experience, too many-sided in its manifestations, to permit any one master, however great, to exhaust its interpretation through his art. If you base your preference for Beethoven upon your sympathies, and if, for this reason, his music satisfies you better than that of any other composer, you are to be complimented upon your good taste. But that gives you no right to contest, for instance, the profoundness of Bach, the æsthetic charm of Chopin, the wonders of Mozart's art, nor the many and various merits of your contemporary composers. The least that one can be charged with who finds the whole of life expressed in anyone composer is one-sidedness, not to speak of the fact that the understanding cannot be very deep for one master if it is closed to all others. One of the chief requirements for true connoisseurship is catholicity of taste.
As to One Composer—Excluding All Others
If I am deeply interested in Beethoven's music can I not find in him all that there is in music, in both an æsthetic and a technical sense? Is any one's music more profound?
You imagine yourself in an impenetrable stronghold whence, safe from all attacks, you may look upon all composers (except Beethoven) with a patronizing, condescending smile. But you are gravely in error. Life is too rich in experience, too many-sided in its manifestations, to permit any one master, however great, to exhaust its interpretation through his art. If you base your preference for Beethoven upon your sympathies, and if, for this reason, his music satisfies you better than that of any other composer, you are to be complimented upon your good taste. But that gives you no right to contest, for instance, the profoundness of Bach, the æsthetic charm of Chopin, the wonders of Mozart's art, nor the many and various merits of your contemporary composers. The least that one can be charged with who finds the whole of life expressed in anyone composer is one-sidedness, not to speak of the fact that the understanding cannot be very deep for one master if it is closed to all others. One of the chief requirements for true connoisseurship is catholicity of taste.
A Sensible Scheme of Playing for PleasureI am fifty-six years old, live in the mountains sixty-five miles from any railroad, alone with my husband, and I have not taken lessons in thirty-five years. Do you think "Pischna" would help me much to regain my former ability to play? If not, what would you advise me to do?Refrain from all especially technical work. Since your love of music is strong enough to cause you to resume your playing you should take as much pleasure in it as possible and work technically only in the pieces you play—that is, in those places which offer you difficulties. Decide upon a comfortable fingering first, and practise the difficult places separately and slowly until you feel that you can venture to play them in their appropriate speed.
A Sensible Scheme of Playing for Pleasure
I am fifty-six years old, live in the mountains sixty-five miles from any railroad, alone with my husband, and I have not taken lessons in thirty-five years. Do you think "Pischna" would help me much to regain my former ability to play? If not, what would you advise me to do?
Refrain from all especially technical work. Since your love of music is strong enough to cause you to resume your playing you should take as much pleasure in it as possible and work technically only in the pieces you play—that is, in those places which offer you difficulties. Decide upon a comfortable fingering first, and practise the difficult places separately and slowly until you feel that you can venture to play them in their appropriate speed.
First Learn to Play Simple Things WellWhat pieces would you advise me to memorize after Rachmaninoff's Prelude in C-sharp minor and Chopin's A-flat Ballade? These pieces do not appeal to the majority of people, but I enjoy them.If such a work as Chopin's Ballade in A-flat does not "appeal to the majority"—as you say—the fault cannot lie in the composition, but must be sought in the interpretation. Why not try a few pieces of lesser complexity and play them so perfectly that they do appeal to the majority. Try Chopin's Nocturne, opus 27, No. 2; Schumann's Romanza, opus. 28, No. 2; or his "Traumerei," or some of the more pretentious "Songs Without Words" by Mendelssohn.
First Learn to Play Simple Things Well
What pieces would you advise me to memorize after Rachmaninoff's Prelude in C-sharp minor and Chopin's A-flat Ballade? These pieces do not appeal to the majority of people, but I enjoy them.
If such a work as Chopin's Ballade in A-flat does not "appeal to the majority"—as you say—the fault cannot lie in the composition, but must be sought in the interpretation. Why not try a few pieces of lesser complexity and play them so perfectly that they do appeal to the majority. Try Chopin's Nocturne, opus 27, No. 2; Schumann's Romanza, opus. 28, No. 2; or his "Traumerei," or some of the more pretentious "Songs Without Words" by Mendelssohn.
About Starting on a Concert CareerI am twenty-four, have had four years' rigorous work in a conservatory and a partial college training. My technique is adequate for Brahms's Rhapsody in G minor and McDowell's Sonatas. I have good health and am determined not to grow self-satisfied. Is there a place on the concert stage—even if only as an accompanist—for a woman thus equipped?Any public career must begin by earning the good opinion of others. One's own opinion, however just, is never a criterion. My advice is that you speak to some of the prominent concert agents, whose names and addresses you find in every well-accredited music paper. Play for them. They are usually not connoisseurs by actual knowledge, but they have developed a fine instinct for that which is of use to them, and you are, of course, aware that we must be of use to others before we can be of use to ourselves. If the right "stuff" is in you you will make your way. People of ability always do. That there is room for women on the concert stage is proved by the great array of meritorious women pianists. Especially for accompanying women are in demand—that is, forgoodaccompanying. But I would not start out with the idea of accompanying. It seems like going to a commercial school to study be to an "assistant" bookkeeper. Become a fine, all-round musician, a fine pianist, and see what the tide of affairs will bringyou. The proper level for your ability is bound to disclose itself to you.
About Starting on a Concert Career
I am twenty-four, have had four years' rigorous work in a conservatory and a partial college training. My technique is adequate for Brahms's Rhapsody in G minor and McDowell's Sonatas. I have good health and am determined not to grow self-satisfied. Is there a place on the concert stage—even if only as an accompanist—for a woman thus equipped?
Any public career must begin by earning the good opinion of others. One's own opinion, however just, is never a criterion. My advice is that you speak to some of the prominent concert agents, whose names and addresses you find in every well-accredited music paper. Play for them. They are usually not connoisseurs by actual knowledge, but they have developed a fine instinct for that which is of use to them, and you are, of course, aware that we must be of use to others before we can be of use to ourselves. If the right "stuff" is in you you will make your way. People of ability always do. That there is room for women on the concert stage is proved by the great array of meritorious women pianists. Especially for accompanying women are in demand—that is, forgoodaccompanying. But I would not start out with the idea of accompanying. It seems like going to a commercial school to study be to an "assistant" bookkeeper. Become a fine, all-round musician, a fine pianist, and see what the tide of affairs will bringyou. The proper level for your ability is bound to disclose itself to you.
Accompanist Usually Precedes Soloist at EnteringShould an accompanist precede or follow the soloist on the stage in a concert or recital, and should sex be considered in the matter?If the soloist be a man the accompanist should precede him on the stage in order to arrange his music, the height of his seat or whatever may be necessary, during which time the soloist salutes the audience. For these reasons it should be the same when the soloist is a woman, but as women are of the feminine persuasion it will, perhaps, look better if the accompanist yields precedence to her.
Accompanist Usually Precedes Soloist at Entering
Should an accompanist precede or follow the soloist on the stage in a concert or recital, and should sex be considered in the matter?
If the soloist be a man the accompanist should precede him on the stage in order to arrange his music, the height of his seat or whatever may be necessary, during which time the soloist salutes the audience. For these reasons it should be the same when the soloist is a woman, but as women are of the feminine persuasion it will, perhaps, look better if the accompanist yields precedence to her.