The San Francisco call., 1903-12-09
The MefrOnomc.
~ ANIcE TERHUNE


Taking it for granted that between
the former lesson and this our pupil
has been working faithfully at his
scale according to the explanation al
ready given, by this time. in all prob
ability. he has become familiar enough
with the single-octave scale, in its
slow form. to take up the two-octave
scale and increase his velocity at the
same time.
Now. let him play his single octave
through once. with the right hand.
saying "Ope. two" slowly, at each
count relaxing between every two
notes as usual. AS soon as he finishes
the ascending and descending scale, he
must start again, still counting one
two" as before, but this time the
count Two" falls on the next note, in
stead Of having both counts belong TO
the same note, and thus the time is
Systematically doubled.
The pupil counts zone. two" zone,
two" "one. two, straight on up the
scale. for two octaves, but 'ione" falls
on c. two on d. the next ''one" on
z. the next two" on F, the next 'one"
on G. and so on.
The-counts must all be as regular as
ever-just the same amount of time
between each, but the accent is only
given at every other note-that is,
every time "one" as said, the pupil en-
phasizes that particular note, impart-
ing a ringing tone to it, as much as is
possible. while the alternate note in
group (signified each time by the
count .two'O is struck lightly, by
means Of whatever strength is left
over from the forcible. count ''one."
The effect Of this is similar to that
produced in ringing bell by pulling
the rope attached to it There are two
sounds, the first one, which is strong,
and a direct consequence of the
strength of the pull given TO the rope,
and the second, which is almost like
an echo Of the first, as the bell re-
turns TO its place. There is the same
space Of time allowed each sound, but
the second tone is much softer, while
the strength Of the one stroke lis
enough to carry the sound through TO
the end Of the second note.
The pupil viii see, as he tries this,
that he is emphasizing just exactly as
ne did in his first scale, only that there
is a note between each of the ac-
cented notes, thus making him play
twice as rapidly as before, although
his counting is no more rapid
The boy must watch his fingers and
listen TO his counting at all times, lest,
with this unusual method of accent
ing his playing becomes in the least
uneven. When carefully watched he
can acquire by this method a remark
ably clear, sweet-toned, rapid scale in
short time II. however, he becomes
careless, forgets TO notice details and
trusts TO the accent alone to help him
through, he is liable to create an effect
somewhat like that produced by the
hOOfbeats Of a horse who is afflicted
with string halt" Therefore let our
little boy keep his mind entirely on
what he is doing. and all disaster will
be avoided. If he is careful to hold
the softer note exactly as long as the
loud one, there is no chance of his los
ing the rhythm. and all viii be well.
When he comes to the end of the
first octave he proceeds up the scale
by using his first finger (thumb) in
stead of the little one. on the upper c,
and is thus safely started on the sec
ond octave.
If any doubt is felt as to just how
this is done. let the pupil go back 10
the last lesson. where the movements
OF the passing fingers are fully explain
ed. and exercises for the facilitation OF
this particular difficulty given. 1t is
well 10 go back to the other lessons
every little while anyway, so as 70 keep
all the important points fresh in the
pupils mind. Each exercise is q help
TO the others. and the more they are
all practiced the better will be the re-
suit.
In prscticing the twO-Octave scale,
the pupil viii be unable to use the
circle Gelaxing) motion between the
notes as in the single octave scale, for
there is not time with the increased
velocity; but he can accomplish the re-
ouired relaxation by thinking the mo-
tion each time he has struck a note;
and by this time the relaxing will have
become such a natural thing to him
that II he remembers to think relax
ing his muscles viii keep from tight
ening. iust exactly as if he actually
went through the whole motion.
This does not mean, however. that
ne can give up MS relaxing exercises.
on the contrary, they are more and
more necessary as he begins to play
more rapidly: but he uses them on the
slow scale only, % the rhythm Of the
rapid scale must not be interfered with.
In order 10 insure against any tight
ening Of the muscles it is best TO prac-
tice the single octave scale with the
relaxing motion between every two
notes. in connection with the two-oc-
tave scale. first one and then the other
over and over again
If there is an inclination to tighten
the muscles bY the time the pupil
reaches the top Of the second octave
he may stop there just long enough to
relax once before beginning the de-
scent; but do not allow this unless il
is absolutely necessary. as il is desir-
able TO acquire the habit of making the
ascent and descent without break as
soon as possible.
Now We come to still more rapid