The San Francisco call., 1903-12-30
BOTH CLEFS TOGETHER.

| BOTH CLEFS TOGETHER.
).
the smooth notes, that have preceded
it. Now is the time to make use of
the technique so faithfully practiced
during the first lessons, and which 1
hope has been kept up until the pres
ent time with no cessation of enthus-
iasm.
The beginning of a phrase is invari-
ably attacked with the ''down-arm
motion" Now, however, all the mo-
tions are to be taken in a less exag-
gerated form than they were in the
exercises; and while the pupil is, in
reality, using exactly the same mo-
tions that he was while practicing the
exercises, he must gradually tone down
the sweep of his arm Cwhether up or
down, as the case may be- until it sug-
gests no exaggerated motion TO the OBJ
server. The deeper a chord is intend
ed to be- the higher the arm must be
raised, preparatory to falling in the
"down-arm motion" The same rule
applies, inversely, to the chord Cor
note, as the case may be) at the end.
of the phrase. The more importance
there is to be given to the final chord
the higher must the arm rise, as the
fingers leave the keys in the 'up-arm
motion" The notes intervening be-
tween the beginning and end of a
phrase are presumably legato notes,
to be played as are the notes in scale
practice, i. e.. with a smooth, singing,
connected tone, whether fast or slow.
After the next to the last note is
struck. the hand (while the finger is
still on the note) drops to allow full
swing when it rises again in obedience
to the "up-arm motion
It will be found of great benefit to
the pupil if at this point he takes up
an exercise which is intended to facili-
tate this. Let him strike with his
second finger with the "down-arm mo-
tion," but instead of allowing his arm
10 remain down, he must start it up
ward again, at the same time striking
D with his third finger in the manner
demanded by the "up-arm motion
/ He thus combines the two motions in
! one exercise, in which is contained the
principle of attacking and leaving a
/ phrase. There may be two notes or
/ twenty in a phrase. 1t makes no diff
/ ference with regard to a principle.
! The intervening notes call forth simple
/ finger motions only, with no complica-
/ tion Of arm or wrist.
When this is once understood the
pupil cannot go wrong in the matter.
and with a little practice it will become
/ instinct with him to attack and leave a
! phrase in the proper way without hav-
/ ing to give the matter a conscious
/ thought
! Very staccato notes are indicated by
! large, pear-shaped dots. and mean that
the finger must be withdrawn entirely
from the key, as soon as possible, after
the note is struck.
The other simpler marks of phrasing,
such, for example, as the opening an
gle intended to denote an increase in
volume, and the closing angle, denoting
a diminution Of sound, are all fully ex-
planned in the instruction book, and
need no further notice from me.
Also, the meanings of the Italian
words scattered through al ost any
piece of music are to be found in any
dictionary of musical terms. 1t would
be impossible to explain them all here,
/ ana II Is uullE unnecessary, dS IL IL d
simple matter for any student to look
them up. as he has need for them. See
that he does look them up, however.
As the pupils musical horizon en-
larges he viii have more and more oc-
casion TO use the whole of the keyboard
| Qnstead of being confined to a few
notes above and below middle c as at
/ firsO. consequently it will often happen
J that his music will require him to carry
his hands and arms quickly from one
end of the piano to the other. When
this occurs he must not fail to facilitate
matters by the use of the water mo-
/ ton" whether the space to be trav-
ersed be three octaves or one only. This
motion, like all the others, must no
longer be exaggerated, but must be
toned down." and must merge into the
"down-arm" motion if it occurs in go
ing from one phrase to another It
serves, as it were. the purpose Of a
bridge to connect two phrases or to
connect two notes that are far removed
from each other.
The wrist motion, too, must come
into constant use in ordinary chords, in
very staccato notes and in all places
that do not call for arm motions.
It is all much more simple than it
sounds, and the pupil will fall into the
i habit of using the motions at the
proper time without the slightest ef-
fort, after a very little practice; and
finding the great variation Of tone to be
brought out by this means, he will
soon unconsciously call TO his aid what
ever motion will best interpret the
4 hof0y-o him