Arizona republican., 1921-09-18

6Continued from Page 1, Section 3
 every moment spent in practice must
 stand for rapid advancement. The
 reason we have so many pupils that
 start music and drop 1t early IS De-
 cause the pupil has not the time Tor
 tba German system and the tabloid
 system is in it's toddling age, and
 maximum results are not attained in
 proportion to our manner or nv1ng-
 The mind of the average American
 child is more active than most for
 eigners, excepting probably those or
 mixed Russian blood. With proper tuition an American child should
 complete the technics on any mu-
 sical instrument in four years. Those
 who have spent longer than fouf wears will admit that they have
 wasted lots of tlme, have changed teachers often and have not really
 done careful and thoughtful practice.
 Henri Marteau, head of the violin department of the conservatory of
 Paris. completed his musical educa- ton in four years and was instantly 1 recognized as one of the greatest violinists. By technical education we
 do not mean the acquisition of roper toire, ability to compose and best de- velopment of virtuosity, but the | equipment to handle the technical I difficulties of all musical literature 1 for the instrument without any phys ical intolerance.
 | This inference should not be i'm terpreted as an. excuse for not prac- ticing because on the the contrary the
 kind of practice for the suggested
 tabloid system will be the nerve tax ing kind that will produce rapid fa- i tigue. The number of practice hours l will count for naught; the effort vii 1 count for naught; knack will coun for naught and the only thing that will count will be results. Practice is the continuous forming of habits. Nc performer has the brain to constant ly think of every motion made and i l is sheer habit that pulls then
 through. In actual practice the move ment must be slow, and accelerated I only after the motion is perfected.
 T The greatest intolerance in techni,
 is in the lift of Aae fingers aud no
 in the downward stroke. The dowi
 stroke comes natural and the averag
 musician generally leaves the u1 stroke to take care of itself, result ing in the finger and fingers playinl the last note or notes in the way o the succeeding note or notes. Added t this is muscular contra force to gravity, which, has to be develope con the up strolSe) so that it is equal ly as rapid on the down stroke. Tn gravity force is more noticeable i the right arm of the violinist as thi member has farther to travel tba the arms of the pianist, but the lef hand fingers of the violinist is easie to develop on the up stroke than tn piano on account of the throw of tn string which when released has tn same power as required by the fin ger in pressing it down The stun bling block in piano playing comes rapid tempos- caused by the under de velopment of the up stroke, resultin in the digits not having a relativei less proportion of time while tray cling up and down. thus robbing tn actual amount of time the finger on the key and the rest above tf key. There should be no doubt to tn students that the mind is the chic factor and with the American in stinct for alertness, shorter hours ( practice, slower practice and mor
 mind development will overcome til time required by the German studer
 method and a tabloid system will i I time perfect a royal road'' systel that will produce quicker and bel
 ter results in keping with the nery | destroying manner of present day liy ing.