New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-10-14
Fine Musicianship Rates
Above Technical Display

"Ncbcngerausch," Is noticeable IN the
tonc,-a certain blurring of the tech
nioue. Furthermore, weak fingers H. e.
lack Of pressure) permit the strings es,
pecially in double stopping, to be puiieu
cut Of line, and this seriously mars
tho intonation. These facts may De
practically demonstrated.
Though the necessity for strong nm
gers is generally conceded, there IN
much difference of opinion as 70 the
means of developing this strength;
FIRST of all, there are what | might can
tho "patent methods" There IL the Us
tromsky method, which uses special ma
chinery for stretching and Strengthening
the fingers, the idea being to secure the
necessary muscular development WIN
out the drudgery Of practice. linen
there ia certain DR.. S., or Berlin, VINO
messages the hand and puts it through
n course of calisthenics with the same
idea in mind. Personally, ! think both
these schemes may be summary dls-
missed as valueless. IL is entirety a
question OF coordination between brain
and muscle. This can only be acquired
bv actually doing the thing 1t IS desired
to learn 49,
Let us now consider the ideas OF the
two most famous living pedagogues on
this subject, Professors Auer ana sew
elk. Both these masters insist on hrm
pressure, but whereas Sevclk wants the
fngers to fall like little hammer
strokes. Auer prefers sort OF vel
yety strength, like the padded fall OF
catjs nav. He fails to see either the
beauty or necessity Of the ra-ta-tatoo
on the fingerboard that Sevclks meth
I'D occasions. II would serve no pur-
nose in the present article TO discuss
the relative merits Of the two IDEAS
The significant thing is that potn
teachers seek to develop finger strength
by the same means-namely, the exer-
ton Of finger pressure-and they nave
met with such consistently good re-
suits that we are justified IN accepting
this as a correct theory. Ii may De
remarked in passing that IN the very
high positions this pressure IS 10 some
degree produced by the weight OF the
hand.
The principle Of relaxation is rather
difficult to elucidate. Confusion ARISES
from the contradictory ideas Oh exert
inc pressure and relaxing at the same
time The exertion of pressure re-
onircs muscular effort, and muscular
effort precludes the idea Of relaxation
II seems TO me that the entire problem
might be clarified by the use of more
scientific language. What is really de-
sired ia to localize the tension; that b.
10 confne the tension to those muscles
exerting the pressure, keeping all othef
muscles in a relaxed condition.
The difficulty of accomplishing THIS
or;ses from the natural tendency OF the
muscles to tighten sympatheticaliy.
This is accentuated in cases OF extreme
nervousness. A piece that was quite
possible at home becomes, precarious
in public performances. kind OF pa
ralysis robs the fingers OF all aelllty;
the bow arm stiffens in anticipation Oh
a difficult passage, producing Iousn,
disagreeable tone. To counteract 'his
sympathetic tightening is entirely
mental process. The muscles are re-
ouired to perform two dlssimIlar op per,
atoms simultaneously. The possiolllty
of thus mentally controlling the mus,
cular activity is clearly demonstrated
bv the simple child's game OF rubping
the head and patting the chest at the
same time. The natural muscular ac-
zion ia TO either pat or rub both head
and chest. Only when the praih
clearly conceives what is required can
the two dissimilsr motions be exc
cuted together.
I have discussed this problem thus
nj length because it always seemed 10
me that much blind cropping ana heeu
less experimenting might be ayoided
il il were clearly understood 10 IL
lustrate: was once asked 70 cri'iciSe