The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1886-03-26
PoTPOURRI PAPERS.
By FRANCIS L. RAwsoN.
Eleventh Paper.)

6IeS.-" what Is absolute pitch Z
Ans.-By absolute pitch we mean the
unchangeableness of the pitch of any
sound-that is, that sound, the name
of which is G, is always the same in
pitch, and can not be changed.
Ques.-" What is relative pitch ?"
A4s.-Relative pitch refers to the posi-
ton that notes occupy in the scale with
reference to the other notes. A tone,
the name of which is A, may be one in
one scale, two in another, three in an
other, and so on, relatively speaking.
Ques.-" What is musical space?"
Ans.-It is so much of natural space
as is enclosed between any two lines OF a
staff, whether it is on the one side or On
the other.
Ques.-" What are your thoughts of
like training of both hands in learning
to successfully handle musical instru-
mentsw
Ans.-In order to manipulate great
many of the musical instruments now
in general use with any degree of sue.
cess, there must be an equal training of
the left hand with that of the right. I
need only classify the instruments and
mention briefly the manner of execution
necessary for each to show the truth of
the statement. The violin and all its
correlatives are fingered (there is no bet
ter term) with the left hand entir ly.
The flute and its correlatives, the piano
forte and its correlatives, and not Il few
instruments Of percussion, demand an
equal training of tbs hands for proper
execution. I may add that little at
tention in this direction, in good season,
would, in my opinion, facilitate in our
art.
Ques.-" How do you teach time, using
eighth and sixteenth notes?"
Ans.-This question has, I think,
grown out of my article on time and the
use of "and' in counting. The object
OF counting is to give a regularity of
movement to which the playing must
conform. The playing is controlled by
the counting, which should be short and
emphatic, as, one, t,vo, three, four, &c. II
We say some and" for two eighth notes,
and one uh, uh and" for four sixteenths,
we are counting to our playing, which is
the reverse of the principle. If I write
four quarter notes on the board, what
does each quarter contain? Ans.-Two
eighth notes, or four sixteenths, &c. II
this is SO, and we say one on quarter
note, why not teach the pupil to say one
on any combination that is equal to a
quarter note, and avoid the use of " and''
and the grunting that is added as the
| fractions increase? If the scholars are
yourg, give them an object lesson first
Take an apple and let it represent a
whole note cut into halves, and let il
represent half notes, introducing count.
ing as you proceed in reducing the parts,
cut it into quarters, and then write four
quarter notes in measure, &c, &c.
This will give the pupil a knowledge oil
the mathematical part of the subject.
Now the counting. Have the pupil or
pupils sit SO that you can see each mem
Der, with a book placed in the lap to
beat time upon, and with open hands
have them "pat" the book, counting
aloud in concert. First, have them
count the time of whole note then
two half notes &C.. &c. When the
principle is mastered in this way, the
application of it i'll playing upon the in
strument will be overcome, as there it
applies to the use of one finger against
another, as well as the action of the
whole hand. Allow me to say that l
understand thoroughly, as my mother
began this system of patting with the
open hand on me quite early in my must
cal history.
I have reached the bottom of the
Query Box, but the Papers will be con-
tinued.