The Birmingham age-herald. [volume] (Birmingham, Ala.) 1902-1950, 1903-03-15

that has already accompanied SO many
Your daughter has neither talent nor
application-and either one minus the
other will never equal musician. Stop
her at once
do you believe in Furnishing children
to make them practice?"
Never. The only good musical results
from a stick is when In the directors
hand, used as a baton. DO not apply 1t
to your music pupils. ! have studied this
question, and | realize after all how
very much depends upon the teacher. NO
two pupils can be taught just exactly
alike We must understand our pupils
our material with which we are work
ing-iust as the painter understands MS
| colors
IT somtimes think that each pupil car
/ ries away from each lesson just little
| piece of my liIe. 1t requires great deal
| of care for ones self to prepare us 10
give Just so much patience, and knowl-
| edge to each of so many pupils ana TO
awaken in each the interest they must
take to be successful
Listen a few minutes near that door
in the hall. You will hear the pupils
| greeting each other, and almost the nrst
| greeting is What are you playlngE Let
me see your book. How much have you
practiced over your timeY For each
must bring their time table, See their
enthusiasm hear them play and you be-
hold my work and will understand why
| call myself successful"
| With reference to her book, Miss Row
lev said; my piano and Theory Course
FOR Teachers will be ready for publica-
ton early In the spring. This work VIII
consist of four parts. Part l. Will be de-
voted to my method. This method Is
based upon the same principle that the
| in pnphinR a
read before it memories the alphabet,
and enables me to teach children five
and six years of age, who do not know
their alphabet. ! teach the child to
place the notes before 1t learns the names
of the notes
Miss Rowley's entire method Is based
upon principles studied In Europe ana
America, but this particular point orig
! mated from her individual experience
with the younger pupils.
Now, to give you an idea of the work
with the old method a child must know
the first seven letters of the alphabet be-
fore it can be taught, said Miss Rowley.
| after memorizing these letters, the
child is told That c is in the third space,
on tho first line below, and also ON the
| second line above the treble clef. Now,
take it for granted we can teach child,
six years old, this far. Then comes the
confusion of placing the note. The child
| Will learn eaCn OIL inc lleDlt y D btl
every eighth note on the keyboard is
called C. Now, which shall she strike :
OF course with pupils little older, this
may be managed, but my method does
away with all this confusion"
Il teach the keyboard as lines and
spaces, not as letters The notes are
called lines and spaces; each line and
each space on the music has its particular
place on the keyboard, and the child
places IL there This makes splendid
sight-readers. The pupils attention re-
mains undivided. for, instead of thinking
of the note as C or G, the pupil sees the
note and places it Immediately
'Have you any actual results from this
method?"
Most certainly. l have great number
of pupils whom | began with the very
first step--all of whom are splendid Illus
trations of my method"
when do you teach the pupil the
names of the notes?'
After the pupil has learned to place
any note she sees, and this may be done
in few lessons, l begin the scale work
of one octave, and the pupil learns the
name of each scale as 1t occurs-thus the
first letter 1t learns is C and not A. Ana
now the child begins theory"
"Why, l supposed it was only the more
advanced pupils who studied theory.
"That Is just where teachers, generally,
make a great mistake" said Miss Row.
ley. THE theory of music should be
taught from the beginning, and this L
had to learn also from my actual exper-
fence with the pupil l have arranged a
simple course for the child pupil She
learns to make the different kinds of
notes. the different signs and signatures,
then to form measures and to count. At
ter that, she learns little rules for find
ing and forming major scales and minor
scales at intervals and later they form
the four trads. That Is about as far as
1 take the little ones"
Part III. consists of six hundred graded
lessons. begin with the very first les
son l give child five or six years old
and go carefully on from step to step
until the last lesson of the senior course
Is reached. Each lesson consistes of a
finger exercise and scale, together with
an etude, sonatine, sonata or selection,
whichever the case may be, the opus
and number of each being clearly desig-
| mated"
do you mean to give a scale with each
of the six hundred lessons?"
n certainly do
But, l thought there were only about
fourteen major scales, and as many
minors"
80 are there only twenty-six letters
in the alphabet, and yet think of the
words we build with those twenty-six
letters-and the sentences we form with
the words and the books we make with
the sentences Just so with scales, Why
do you not know, l am called scale
fiend? And l am very proud of it. The
work of scales and etudes is the arith-
metic of music"
Zone of my pupils who was going to
make me a sofa pillow for a Christmas
present, threatened to embroider upon II
q scale"
Part III. will be a thorough analysis
of the six hundred lessons, so that any
teacher may be enabled to use the book
OF course, any one may take up a cata-
logue and read the graded work of any
music school. and foolishly try to teach
by this but that would be like doctor