The Yakima herald. [volume] (North Yakima, W.T. [Wash.]) 1889-1914, 1903-12-02

! THE MUSICAL CORNER !
CONDUCTED BY E. A. THOMPSON,
) Violin Maker and Teacher.
The Voice and the Piano.

The Voice and the Piano.
OF late years the voice-teacher who
sings but does not play has viewed with
alarm the invasion in the ranks of vocal
pedagogues of the pianist who does not
sing, at least to the extent of submit
ting his vocal ability to the criticism of
the public. Because the singer cannot
and will not teach the piano, he demands
that in like measure the pianist shall
not teach the voice.
Now the singing voice teacher reasons
that, it having been demonstrated that
g life is short and art is long" to di-
vide ones powers between two distinct
branches of art is to cause either the
one or the other to suffer. Now, incom-
potency, of course, is everywhere to be
condemned, but this prejudice has some
times been developed to the extent of
reasoning in a post hoe, ergo propter
hoe" style, which means that the mere
fact of certain amount of proficiency
deficiency in vocal matters.
Now, let us look at this matter dispas-
sionately. In most of the European
schools of music, no matter what branch
he may choose as a speciality, every stu
dent is required to attend the classes in
piano and theory of music To the sing
er and violinist this requirement is fire.
quently regarded as bore to be full
filled only in that degree that may be
absolutely necessary. Hence, as a rule,
the great composers and those most
broadly educated in music have been pi-
anists. and not singers or violinists The
works of these latter have to do with
melody and one voice, rather than hrr-
mony or combination of voices Hence
the esthetics of tone combination, which
has been such an important factor in
modern music, receives comparatively
little attention at their hands.
On the other hand there is the case
of the pianist, who, finding his teaching
dwindling, or believing that a greater
emolument is to be obtained in voice
teaching than in piano, suddenly, with
out proper preparation and study, an
nounces himself a teacher of the vnica.
This man may be able to play god
accompaniment, but is utterly useless
as an exponent of voice cultiva ton or
Interpretation of vocal music Even as
a coach or repertoire teacher will he
be found wanting, for it is impossible
to teach Interpretation properly wittout
teaching tone-quality and how 10 nc
quire it.
Thus we see, TO play the piano sine
is not sufficient to enable one to prop
erly teach the voice; but we also Sc.
that the voice teacher who cannot play
is severely handicapped in his work, L.
sides lacking the musical development
which study of piano and harmony is
sure to give.
What differences, then, may be drawn
from what has been said? Namely, that
knowledge of piano alone is tot lily in
adequate for the voice teacher; that a
knowledge of solo-singlng is better; but
that the best and most complete prepar-
alton is thorough cultivation of ones
own voice, not necessarily as a pr par
alton for solo work, but that one may
be able to present to the pupil proper
examples for purposes of imitation or
instruction Add to this a suf;,.i,nt
knowledge of piano playing to enable
the teacher to play his own aeco,'ptni-
ments, to make al necessary transpo-
sition of the same, and to make use of
all the help that the piano gives IN Illus
trating the work of the lessor This
necessitates a thorough knowledge IF
harmony, the elements of counterpoirt,
and some proficiency in musical form.
and the history of music.-Dr. Henry w.
Giles.