The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1885-04-10
MUSTC-VOCAL AND IN
STRUMENTAL.
Continued from, March 26.

tSUitttSWCtt IIyBt u1CbfC1I 90
Nothing so retards the progress Of the
average student as the want of proper
system in the time devoted to practice.
Many spend FIVE and six hours day at
their chosen instrument, yet have but
little to show as regards real progress at
the expiration of years that should find
them able executants The cause is
easy to find a lack of thoroughness in
the attacking of and workings out of
their studies. It should be remembered
that the teacher is but sign-board,
pointing out the path leading to perfec-
ton, which, however, each individual
pupil must travel by himself; and
though the instructor dazzle by his
execution, not trace of this can he i'm
part to his scholar, save by the giving of
rules and methods, the following out of
which demands from the pupil inces-
SAINT, and what is even more important,
systematic labor. No teacher, renown-
ed or otherwise, is able to absolve his
pupils from wearisome labor. Nothing
can be more injurious than the taking
up of new piece Or exercise, and play
ing it through from beginning to end,
with both hands, at the outset. The
mistakes that have been made in the
first performance will be repeated in the
second the fingers become habituated
to sudden stops on the approach of
difficulties, and slovenly style is form
ed that proves no less exasperating to
the performer than the unfortunate
listener. The habit of striking certain
notes a number of times unnecessarily
is one of the first results of this incorrect
practice, and may with right be COM
pared akin to the defect Of suffering.
Careless lingering, again, is a rock that
has wrecked many a promising student,
and if we add to this neglect of time
and rhythm, few of the evils have been
indicated that, once formed, are difficult
to eradicate. Toward the requirement
OF correct touch, of all things the most
necessary is the constant daily practice
oftechnical five finger exercises, with
still-standing hands. This should never
be neglected by the advanced pupil
even, and commenced as early as prac-
tlcable with the beginner, the careful
teacher, of course, knowing the proper
time. The practice of finger exercises
should invariably be performed with
Timber wrist, and too great care cannot
be bestowed on this point If the tech
nical exercises, scales and arpeggios,
have been gone through with, we pro-
coed to the exercises that the teacher
may have indicated for personal prac-
tice. Do not make the mistake of COM
mencing with both hands at once. Sup
pose you were unable to lift weight,
say of one hundred pounds, would you
not think it the height of absurdity to at
tempt two hundred pounds? Yet this
impossibility is attempted daily by
students, who, unable to play with one
hand correctly, must, perforce, add the
other. Do not seek to conquer the
difficulties Of your exercise at one blow ;
but, like skillful general, find out the
principal obstacles, and do not move
from the first one discovered until you
have overcome it. The second and re-
naming ones, we assure you, WILL in con-
sequence of your perseverance, soon
surrender, after which both hands may
be used to advantage, but in moderate
tnepi. For the first studying of piece,
or,eetude, bold, decided touch is re-
commended, irrespective of whatever
marks of PIP. you may meet. Later on
such signs must, of course, receive just
attention. FRANCIS L. RAwsoN.
To be Continued d.