Year: 1879

lies about equally with parents, teach
ets and scholars. How many teachers
do we all know who, if asked to play IN
company, are compelled to de line for
the simple reason that they cannot
play? Now it is utterly impossible for
aperson to teach music unless they can
exemplify their teachings. 1 have
heard people make the assertion that
person, although no player, might be
competent teacher; but it is folly to
claim that the technical part of piano
playing car be successfully taught by
person who knows nothing about it.
A teacher who understands music can,
by striking chord, show pupil how
that chord should be struck, and do it
in minute; while great deal of time
may be used up explaining it orally
and very little information be impaired.
Such teacher, we will say, takes a
young girl as pupil and starts her on
an exercise to develop the fingers. The
exercise is practiced one or two hours
day for perhaps three days and then
dropped for new one. The pupil is
under the impression that as soon as
she can strike the correct notes with
sufficient rapidity the exercise is of no
further use. After few weeks of this
kind of practice "piece" must come,
which to meet the ability of the pupil
must be Of the simplest character.
This piece is learned and admired by
papa and mamma: consequently others
must be learned, to the neglect of ex
ercises. The teacher furnishes the
music to the pupil at a profit and does
not care how many pieces are taken,
and thus, through the shortsightedness
of parents and teachers, the pupil is
entirely ruined as musician; for these
same little pieces tend to peryert the
taste for good music. The teacher is
blamable for giving the "piece," the
pupil for wanting it and the parents
for encouraging their use.


My theory is this: Take pupil in
whom there is talent, and put him
from the first under q competent and
conscientious teacher. Such teacher
will keep the pupil on exercises alone
until the technique is formed. It will
take good while and will be dry work,
but months and even years can be
proftably employed on exercises alone
When the technique is formed the pu-
pill will be sufficiently advanced to com
mence the study and practice of first
class music. The best composers have
written music for the use of amateurs
Beethoven's easy sonatas," Dusseks'
sonatas," etc., are excellent music
and quite easy. In learning q new
piece find it best to take it away from
an instrument and study it thoroughly,
noting every little expression mark and
every pecullarity of the piece. Then
take it to the instrument and read it
over exactly as it is written, paying the
very closest attention to all marks,
every one of which has its use. A very
common error with musicians is the
habit of playing everything not marked
staccato as though it was slurred. This
is very wrong and very bad. When it
is neither slurred or marked staccato,
every note should be cut off promptly
before the next one is reached. other
wise they will run in together and give
the passage careless. slouchy. slip
shod sound. There are many musical
terms that are synonymous if you take
the dictionary for it, while there is
really considerable difference in their
meaning. Thus "Una Corda" and
"P" both mean softly, but the first means
that the soft pedal must be employed
while the latter does not. Another
great defect in playing is in the way
explosive chords are often played.
Light octave or chord passages should
be played from the wrist, the fingers
striking the keys lightly and the hand
bounding up perpendicularly like
rubber ball, the arm remaining per-
fectly still; but an explosive chord
marked Fl, with small triangular sign
over it, should be taken with the arm;
strike hard with the loud pedal on;
the stroke must be made as short as
possible and the hands and the loud
pedal instantly and simultaneously re-
moved. The hands in leaving the keys
should rise perpendicularly and with
spring. If either the hands or pedal
are not removed in time it leaves the
chord with drag to it which ruins the
effect. To conclude: What is neces-
sary after talent to make successful
performer is thorough and continual
practice of such exercises as those of
Czerny, Plaisly, Moscheles and Heller,
which will train the fingers and form
the CecnnlQuo, aIIerWaTus LHo careful
study of the works of such composers
as Beethoven, Chopin, Henselt and
others. and the entire exclusion of
trashy music. If piece is written
allegro, do not play it moderate. Study
each movement and give it its proper
time. When performer has learned
to master Beethoven's op. 7, Chopins
op. 40, aud such. music, there is a
world of pleasure and enjoyment
opened up. Let me recommend one
brilliant and pleasing piano duet and
then stop" Radieuse by Colts
chalk. Household.


In Rome was recently ordained a
oolnrod Oriaat who WAS formerly q