Savannah courier. (Savannah, Tenn.) 1885-1979, 1886-06-03
A MUSIC LESSON.
A Few Valuable Hints from Chris
tine Nilsson. 5Fi


tine Nilsson. tFi
My DEAR FRIEND. 1t gives me great
pleasure to comply with the wish you
have expressed that should give you
few hints which may help you in
carrying out the musical education and
vocal training of your daughters. l
should first suggest that unless child
shows some natural aptitude for music,
it seems mistake to devote much
time to the attainment of the art. Such
an aptitude generally manifests itself
in early childhood, as when it exits,
the child will evincc pleasure and at
tention in listening to music, and will
try to initiate the sounds it hears. If
successful in this attempt, there can be
no doubt of its being gifted with a
musical ear.
If | had the musical training of a
child, l should adopt the system OF call
ing the seven notes constituting the
scale according to their Italian names,
viz: Do, Re, Mi, Fa, Sol, La, 81, and
by striking each one of these notes on
some musical instrument, or singing 1t
out. Associate at once, from the very
beginning, the sound of every note
with its proper name, just as the
alphabet is taught before spelling or
subsequent reading is attempted. Then
the child's eye must get used to the
five lines forming the staff in the treble
clef, and each note must be taught by
its position on the said staff.
After this, the same process must be
gone through with the bass clef, so that
in due course of time the study of the
piano-forte may be pursued. But it is,
in my opinion, very great mistake to
teach a beginner music by the help Of
the keyboard, or claCier, as it is called
in French, of the piano-forte. Such
teaching does not tend to the forma-
ton of musical ear, or help the stu.
dent to read easily at sight, which is
one of the chief objects to be attained
by the musician. The appellation Of
the notes, their respective value or du.
ration, the rests, division of time-the
theory of music, in fact, should be well
taught. 1t is work of time and pa
thence, but when thoroughly attained
is never forgotten, and is indispensable
TO the requirement of instrumental and
vocal talent.
SOltege, which is the first kind Of
singing taught to children on the con.
tinent of Europe, consists in singing
out the notes by their applications: Do,
Re, Mi, Fa, Sol, La, 81, and simultane.
ously beating time with the right hand
in order to designate the proper division
of each bar, and mark the rythm, which
is of the utmost Importance. The study
of Solfege is absolutely indispensable
TO vocalist and ought to be pursued
in childhood, when it is not fatiguing
1t will thus establish good and solid
foundation to the subsequent yoca
studies. The age at which girl NAV
begin to learn singing must depend
upon her health and physical strength
and also on the natural development o.
her voice. Some voices being mucf
stronger than others, may be exercised
early in life without injury; such wa.
PATHS case and mine; but these beins
exceptional instances, one can not pre-
sent them as examples.
From sixteen to eighteen would b,
about the average age, when easy ex
ercises should be taught to. the student
carefully avoiding straining the vote,
in any way.
The proper way of drawing breath
which should be from the diaphragm
or waist, is study in itself; also tn,
opening of the throat and mouth, i,
order to insure, from the first, roo,
emission of the sound. Garcia, Bor
dogni, Randegger and other celebrated
- masters in the art of singing, hay,
written excellent works on the subject
with clear and practical observation
and instructions, and also exercise
and vocslizeS, admirably adapted TO
the study of the art they so Thoroughly
understand; nevertheless, students cal
not teach themselves singing eve,
with the best of written methods. an,
without the assistance of an exner;
enced and capable teacher. directinc
watching and guiding the student bs,
habits are formed which are most diff
cult. and sometimes impossible. to cor
rect
As there are different kinds of voices
some being naturally high. such as IN
soprano. some low-pitehed. as the con
trslto. or Others varying between m
two, more Of the mezzo-soprano l;rd
it Is important that they should h
guided according to their naturs
tendency in orler not to force or Stra;
them; and of this the teacher MN,
Judge and direct the studies of HE ~,
pills accordingly. II therefore rpon;ro
sn experienced professor. particnIarI
at the commencement
Singing must not be practicsd 10
long at q time, 50 As To fat;gns ~
voice. 4 period Of twenty n;n7,,o, y, -
rether Is sufficient; but may he -, ra,,,o ',
ed twice or three times = dsv Ph a.
once the pupil has understood y b0 WI. .
practice alone. At first il is better ,
be content with the lesson a. 49,
prsc6clng : worse than none Tn
soas. Therefore, should he talo, &c e
ouentlv IN commencement II rsn;5 ~
movement Is desired: and hv -. -