Академический Документы
Профессиональный Документы
Культура Документы
T E A C H IN G P IAN O F O R T E P L A Y IN G .
P R E F AT O R Y E X P L AN AT IO N OF
THE SCO P E OF TH E WO R K .
I ALF RED
. JO H N ST ONE .
CON T E N T S .
PAG E
WOR K v
C HAP T ER I .
IN A L I B ER AL MU S I CAL E DU C ATI ON .
S EC T I O N I .
S EC T I O N II .
Interpretation 10
xi
x ii Co ntents .
S EC T I O N I II .
PAG R
I4
Theoretica l Subj ect s
( ) A . The E lements o f Music IS
16
( B) . H armony
( C) . F orm and Ana ly sis 1 7
1 8
(D) . C onc lusion
CHAPT ER II .
SE CT I O N I —T E C H N I C AL E XE R C IS E S .
1 . F inger — Technique 1 9
2 . Mental C oncentration an d C o or dination o f -
5 . D etails o f P o sition 31
6 D etai l s o f Striking
‘
.
31
7 . A F irm Touch or F u l l Key D epress ion 33
8 . T w o F inger E xercises an d F inger G ym
-
na st i cs
I I Scale Work
.
I 5 E xtended Arpeggios
.
C HAPT ER III .
"
E Intro ductory R emarks 90
Q
E Time an d Tempo 94
W H ow to Teach Strict Time
’ 96
F Metrica l Accentuation 98
W E xpressive Time Freedom ; Q uas i Temp o
-
R ubato I OO
Rhythm 1 1 8
9
‘ Rhythm o f D ivided Beat s 1 22
Shading
12 G enera l Suggestions f o r T eaching Phrasing
.
1 4 P o lyphonic Music
.
C H AP T ER IV .
TR A INING .
PAG E
I . F ingering
2 . U ses an d Abuses o f Read ing and Memo ri sm g
3 . Specia l Suggestions for Teaching Reading
4 C oncise Hints f o r R eading
N ote o n E ar —
.
5 . T raining
6 . Accompanying
7 . Memorising
C HAP T ER V
1 . E lements I8 7
2 . H armony 1 91
3 . F orm 19 3
4 . S ome U sefu l V
VO I RS ‘
on the Subj ect s
Treated in this C hapter 1 96
C H A PT ER VI .
I . The L esson 1 98
2 . Reiterated Insi stence 2 00
PAG E
9 D iff i cu lt P assages
. 21 1
10 Hours o f Pr actice
. 21 3
1 1 Suggestions o f E minent T eachers for D ivi
sion o f Practice 2 14
C H AP T ER V II .
G ENER AL G UID A N CE ON TH E C H OI CE OF MU S I C WI TH ,
S OM E H IN TS U PON E DU C ATI ON AL E DI TI ON S OF
P I A N OF OR TE C LA S S I C S .
3 . d
Popul ar or L ight Pi a no f o rte Pi eces G rad e 22 9
4 . G eneral Sug g estions upon the C hoice o f
Teaching E ditions o f C l assica l Music 23 5
C HAP T ER V III .
4 . 2 48
xv i C o nte nts .
PAG E
pl ay ing is greatly ,
an d avoid exercises .
“
There are other parents again w h o say Y es no , , ,
but any teacher wil l d o for the first few years ; later
on I S ha l l emp loy a first— rate master Such cases .
”
stu d y.
4 The Art o f T e aching .
3 . BE S T S Y S TE M OF T EC H NI Q U E .
’
o f a moment s attention lest the inexperienced ,
“
tion ; an d in Piano T echnique published by ,
”
4 . V ARI OU S BR A NC H E S OF TE C H NI QUE .
,
techn i que a n d arm techn i que there ‘
-
6 The A rt o f T e achi ng .
chord work .
5 . PR OTE S T A G A IN S T “
S TUDIE S .
”
neglected .
Pro te st Stud ie s . 7
course o f the best stand ard stu dies suitab ly gra ded ,
Of
primary importance however in technic al , ,
’
stages o f the pupi l s progress .
T h e R oy al Method
“
work . Piano T echnique
“
,
”
,
.
“
t i o ned a s ex amp les : the C otta L ebert Piano forte -
’ “ ’
Schoo l L Osch o rn s T echnical S tudies M ason s
,
”
,
”
’
T ouch and T echnique and G ermer s Technique
“ ” “ ”
.
’
B ut i f the stu d ent s a mbitions shoot out bey on d
these modest bounds he m a y stil l find satis faction
,
invented them .
“ “
Piano forte Piano Technique
,
”
and Touch ”
,
S EC T I O N 11 .
—I N T E R P R E T AT IO N .
”
forte P layin g pub lished by Weekes and C o ; while
-
, .
S EC T I O N II I .
—T H EO R ET I C A L SU BJ E C T S .
( A) . THE E LE M EN TS OF M U S IC?t
S ee “
T h e R o y a l R o a d to th e R u d i ment s of Mu si c,
"
( W k
ee es b y th e auth o r .
16 The Art o f T e aching .
(B ) . H AR M ON Y .
( D) . C ON CL U S I ON .
S EC T I O N I .
—
T E C H N IC A L EX E R C ISE S .
I . F INGER TE CH NIQ U E
-
.
.
,
.
, ,
p reta ti o n .
0F BR A IN A ND MU S CLE .
’
o f compressing three years average work into a
’
t ree months course
h .
MentalCo ncentratio n o f Br ain and M u scle . 21
strength .
success .
s o a s t o g a i n f ro m i t t h e m a x i m u m res u lt f o ss i ble .
“
, ,
”
Phrasing an d Interpretation
The easiest and most rapid metho d o f accomp l i sh
ing o u r obj ect is probab ly the best N ow th e q u e s .
,
, ,
,
Po sitio n o f Hand an d Stri king Finge r
. 27
4 .
R ELA TI V E MERI TS . OF S TRI K ING
’
AND PU S H I NG
THE KE Y S .
”
Mr Townsen d in his B al ance o f Arm and Mr
.
,
“
,
.
“ ”
push the S pa de“
,
”
o ar pump hand le and crow
,
”
-
“
there fore except qual ity o f tone are o utside the
, ,
”
“
that the qua lity o f tone pro duce d by the pianola
”
the key s .
De tail
s o f Po siti o n . 31
5 . D ET A IL S OF P O S I TI ON .
6 . A
D E T IL S OF S TRI K ING .
and with great force from the j o int next the han d ,
,
-
’
tainty f o r the rest o f the pupil s career ; while the
so ft touch acquired more laborious ly through full
,
8 . Tw o -
F INGER E XER C I S ES AN D F INGER
GYM N A S TI C S .
F i nger gy mna st i cs o f
a
an intel ligent k ind p ra c ,
“
F inger and Wrist G ymnastics pub lished by ,
”
Tw o -
F INGER E XER CI S E S
Th e more intel ligently w o er exercises are t —fing
practised the fewer o f them wi l l suffice to develop
a hi gh standard o f finger power T hese simp le ex .
Tw o -
Fing er .
Ex e rcises . 35
together .
F IR S T TWO F I N G ER -
E XER C I S E S .
tone .
cess f u ll
y is the moving o f the hand downwards in
sympath wit h the l itt le finger at each o f i ts st rokes .
manner specified .
throughou t ) .
No . 1
: 4 s o a s a s : 2 1 2 1
C
0 °
c a g a v i o 0 4 4 6
etc.
No 4. .
be care fu l ly marked .
—
pra ctice until some improvement i s fe lt in the points
desired in depen dence power rapidity o f move , ,
ef ficaC
y is d esired to practise al l the exercises as
,
No .
5 .
I 2 1 2 2
z e tc~
5 5 1 z
4 6 4 6 4 6
6 4
i 3 4 3 i 3
‘
3 1 2 l 1
__j_ etc.
_ _
d
R hy th mi ca l il l u strati o ns f o r th e p ractise of No 5. .
(J ) .
( b)
ye ar th i s m a y gr adu a l ly be increase d to
_ _ 96 ;
third y ear to 1 2 0 ; fourth year to I 44 ; fi fth year to
1 76
.
cises .
No .
7 .
1 2
2 3
a s
4 .
4
4
3 2
2 1
No 8 . .
1 2
2 3
3 4:
42 The Art o f Te aching .
9 T H REE F INGER
.
-
E X ER C I S E S .
No . I .
|
:
6 :
fi 3
;
I c It : a . : 0
:
g
No 4 . .
3 4 6 8 4 6 3 4 5 3 4 5
"
T
‘
44 The Art o f T e aching .
e i
xerc ses . 45
IO . F I V E F INGER -
E XERC I S E S .
, ,
’
part o f the student s daily round o f practice so long
as he desires to u se h i s fingers effectively B ut .
E ach ’
movement must be ma de a s i f o n i ts e f ficacy
one s who le success depended When the exercises .
prescribed .
F iv Fing e -
er Ex er cises . 47
’
Take four exercises for each day s practice .
’
tw o exercises wil l su f fice for each day s work P lay .
ADDI TI ON AL E X ER C I S E S .
II . S CA LE W OR K
-
.
’
the beginning o f the pupi l s career ; others spend a
consi derable time first at finger exercises and easy -
, ,
H A ND P OS I TI ON IN S CA L E P LAY ING -
T HE T H U M B M OV E M EN T .
, ,
the more easily reach its key ( See the detailed dia .
tra t i o n
, the procedure is as fol l ows B end the .
onward over the thumb they are twi sted roun d out ,
,
”
’
A year s di ligent study shoul d su f fice to
fami liarise the young pupi l with the maj or sca les ;
but however long the time required m ay be no pupi l ,
“ ”
to the note taken by the third foreign
sty le ) fin ger o f each han d in each sca le I f this .
me lo dic minors .
1 7
H o T HE M ETR ON OM E AN D S CA L E RHY THM S .
’
F rom a very ear ly stage then in the pupil s career , ,
" '
Ir1 th ree
f ou r
' ’
0 a 0 f ou r
th ree
a 8
C n n fi’u r H
0
” ii a f ou r
>
I
o a o o th ree
[ ou r
l ar motion .
, roun d
each week This method o f proce d ure i s equa l ly
.
vigorous f o rti ss i mo .
lish ed by Schirmer .
“
Touch an d Technique as wel l a s in H o w to ” “
”
S trike .
I3 . B R OK EN C HOR D S .
a
t
e n C h o d E x e ci ses r r "
( ee es ) .
62 The Art o f T eaching .
for developing finger power and flex ibi lity are not ,
han d s
G ra de IV exercises consi sting o f broken chords
,
minor ; fourthly E fl at A fl at D fl at m aj or an d A
, , ,
G R A DE 1
i
.
II ) ( 1 b) .
64 The Art o f Te aching .
(2 7 )
3
T
1 2
—Z OI
2 4
0
( ah) .
"
3 4 I)
-
1
a:
fi r
2 1 H
6 3
(3 ) (3 (3 0)
1 n a n n 4 2 4
3 1 2 4 ‘
2
6 4 2 4 H 1 2
'
v 2
'
fi ' 1 2 4
1 4
‘
. n 4 l 4 ‘
2 4
( 4l ( 4a ) .
8 5 4
>
4
—1
i 2 2 s P' IH
—" —o >o — 7
1
a
_j
' _ d *'
: OL j i d
2 l 4 2 2 1 b id
6
5 i
(4 b ) .
3 2 2 1
5 3
(5 a )
1 3 2 5
-
o -
o -
o
T t
i
I:
66 The Art o f Te aching .
( 4)
’
G ermer s T echnics o f Piano forte P laying
“
in the ,
”
“
C otta L ebert Piano forte School B ook III ; o r in ”
-
,
’ “
M a son s Touch an d T echnique Part III ,
”
.
Weekes and C o .
I5 . E X TENDED AR PEGGI OS .
’
A fter a year s di ligent c o urse o f study at some
typica l broken chord exercises in the various grades
mentioned in the previous section the teacher may ,
, ,
and E fl at minor s .
2 1 4 etc
, , , .
F ingering :
L e ft hand first position ; 3 1 ; 3 2 1 etc
, , , , , .
maj or an d minor .
F ingering :
B m aj or right hand ; f i rs t position ; I 2 3 I ;
, , , ,
Arpeggios ( Al l an and C o )
”
.
Sp e cial Faults in Arp eggio Play ing . 69
S PE C I A L F A U L TS IN AR PEGGI O P L AY I N G .
the keyboard .
struck .
, ,
16 . WR I S T A ND AR M TECH N IQUE .
~
,
m o re exten d e d stretches .
( )
B H ol d the
. wrist rather low — near ly o n a level
with the keyboard .
‘
( D) A fter a few months training with singl e
.
a beat .
1
O
:
7 2 to 1 26 .
(a ) .
(a) .
d l .
etc.
thus
(a ) .
T
l
e Q
et c
.
( b) .
( c) .
E z flz
“
w
a -
a 0 .
etc etc.
O TH ER U S E F U L O C T AVE E X ERC I S E S .
“
Touch an d Technique and K u lla k s O ctave ’ ”
School .
”
N EED LE S S MU L T I P L I CA T I O N or TE C H NI CAL
E X ERC I S E S .
be cal led .
I7 . D A I LY S C H OO LS or TEC H NI CAL E X ER C I S E S .
“ ”
2
. L osch o rn Technica l Studies ( Pres se r )
,
.
3
. L ey b a ch La D iabol ique ( a single wrist
,
“ ”
stu dy ) .
4
. K ohler Technische Materia len
,
.
5
. G ermer Tech ni cs o f the P iano ( Bosworth )
,
”
.
6
. C z erny Forty D aily E xercises O p 3 3 7
,
“
,
”
. .
“ ”
7
. H anon The Pianiste Virtuose
,
.
8
.
Moore The Mechanism o f Piano forte P lay
,
“ -
g ( B osworth )
”
In .
10 K u lla k
.
O ctave Schoo l B ooks 1 1 III ( octave
,
“
,
”
,
Metho d ( Schirmer )”
.
( Weekes ) .
”
tave Technique ( A shdown ) .
U S EF U L P I A N OFOR T E TU TOR S .
“
The R oya l Piano forte Metho d by Al f red ,
”
J ohnstone ( B oosey ) .
“
L K Oh ler Practica l Piano Method ( Peters)
.
,
-
”
.
“
”
.
”
G u rli tt s Technics and Melo dy O p 2 2 8 three , .
,
book s
’ “
Franklin Tay lor s Piano forte Tutor .
”
“
Ho lmes and Karn Technical Trainin g , .
”
S ECTI O N 11 .
—P I A N O F O RT E ST U D I E S .
1 . I N T RO DU C TORY SU G G E S T I O N S .
music obtainab le .
’ ’
d o z en books from C z erny s vast stock ; C lementi s
“
G ra dus ; M o sch eles O pu s 7 0 and 95 ; H enselt
”
, ,
and Karn .
“
Y ear s ago Lebert and Stark in their Piano f orte ,
”
School compiled an excel lent progre ssive course o f
,
29 9 3 3 7 3 3 5 36 5 7 40
, , 400 S ome pre fer B erens
, , , .
,
, ,
3 . LI S T S OF G R ADED S T UDIE S W I T H , AU TH OR S AN D
OP U S N U MBER S .
, ,
G R A DE 1 .
B erens, Op p 7 o , 6 1 73 79 v
D u erno , O p 1 7 6 y
uv y
. . .
.
, ,
D erno , O p 1 1 0
D i
.
L e C o u p p ey , Op 1 7 ar ng, O p p 3 8 , 8 6
i
. . . .
Wo h lf a h rt , Op . L as ch o rn, Op p 1 5 9 , 1 92 . .
88 The Art o f Te a ching .
G R A DE 11 .
E a s y S t u d i es f or Y ou ngr Pu p ils .
C z ern y
Op 1 3 9 G u rlitt, O p p 5 0 , 5 1 , 5 2 , 5 3
Ki K
. . .
,
r ch n e r , O p 71 . . unz , O p 1 4 .
D u erno y , O p 1 7 6 B er t n , O p 1 0 0
B
. . . .
B e rgm i ller , O p 1 0 0 . . e re n s, O p 73 . .
L é s ch o rn , O p p 65 , 1 90 , 1 93 L e C o u p p ey , O p 7 9
G El y B S ll P l d
.
. .
er m er , I OO e m entar a ch , ma re u es
St di
.
u es ( B o sw o rth ) .
G R A DE III .
M o d era t ely D if f
i cu lt S t u d i es f or q i or a nd [ u ter
med i a te Pu p ils .
B ti i O p p 9 d 3
er n 2 an 2 B erens ,Op 7 3
H ll Op p 4 7 4 5 4 6
. . .
, .
e e r, Co nco ne , O p p
K u Op p 9 B P I nv e ntio ns
. .
, , .
ra se , 2, a ch , T w o art
H i ll O p 4 6 B S i
-
. . .
er , a ch u te s
l
. . .
Lb h O p 66
s c o rn , . W o f f , Op p 2 61 , 1 9 .
C m
ra S tud i E d b y
er s
’
es, . C o cci u s, B ii lo w , T a u si g, R u th a r d t
or D r W e e k es
. .
G R ADE I V .
S t u d i es f or S eni o r Pu p i ls .
Cl me nti
e G ra du s M o sch eles , O p p 7 0 a nd 95
G M B
, .
ra h a m o o re , Op 24 ere ns , O p p 6 1 , 64
C y B
. . .
i
, . . .
D 6 r ng, O p p 8
M ay K l
.
er 3 05 oh er , O p p 1 2 8 , 1 3 8 , 1 1 2
K l
.
. .
L6 h sc o rn, O p p 67 , 1 36 es s e r , O p 20
H ll
. . . .
e er, Op 1 6 . .
J ensen, O p p 3 2 , 3 3 . .
CH APT ER III .
I . I N T RO DU CTORY R E M AR K S .
and dried -
2 . TI M E A ND TE MP O .
3 . Ho w To TE A C H S TRICT TI M E .
THE M ET R ONOM E .
metr o nome .
4 . ME T R I CAL A CCEN T U A T I ON .
than the per f ectly even time o f the notes and beats .
alertnes s The
, , .
, , , , .
forte .
5 . E XP RE S S I VE TI M E FREED O M ; QU AS I TE MPO
R UB A TO .
,
R e l ative Time Value s o f N o t es . lo3
3 i
P oco ru ll
.
:t
P ed . 6
'
'
9 '
Ped ‘
P
erl .
P ed . P ed . Ped .
( I I) .
1 nd bars 7 1 12 r o ll 0
, . .
1
punctuating comma .
p i a no .
6 . P AR E NT H E T I CAL N OT E ON S L URRIN G .
cri m i na tel
y f o r both purposes And where it i s .
an
y division o f a broken beat o r o f a g roup o f notes
,
, ,
, ,
C o nv e ntio nal T e mp o R u bato . l 15
especial ly when impul sively an d romantical ly ex
pre sse d i s to o capriciou s an d to o intangib le to be
,
terp reter .
“
The ri ta rd a nd o ( inc ludin g ra llenta nd o ri tenu t o , ,
s m o rz a nd o ca l
,
a nd o , acc o rdin g to the genera l ly
establ ishe d rule is much more frequently employed
,
“
2 . I n those p a ssages which lea d to some separ
ate mem ber o f a mel ody .
“
3 . I n those long an d sustained notes which are
to be struck with particu lar empha sis and a fter ,
“
4 . At the transition into another species o f time ,
“
5 . I mmediately before a pause .
“
6 . At the d i mi n u end o o f a prece ding very livel y
passage ; as a lso in bril liant passages when there ,
H8 The Art o f Te ac hing .
8 . H OW To TE A C H A CCEN T , EMPHAS I S AN D
RH YT HM .
9
. RHYT HM OF D I VIDED B E AT S .
mistaken
- r
q - i
E xamples
etc .
f
a
x ; etc .
smoothly .
(a ) . (5 )
( cl
10 . H ow TO TE A CH E X P RE SS I V E FREED OM IN
A CCEN T U A T I O N .
s i st ent l
y be offered in e x am ple s to the pupi l until
he can prompt ly recognise at l eas t five main shades
of tone : p p p mf f an d 77 E ven then it mus t
, , ,
.
,
, .
A
r e fe r ence t o t h e examp l e from Men del ssohn s
i n
dante an d R ondo Capriccioso q uote d i n sect i on 5
,
”
.
13 0 The Art o f Te ac hing .
12 . G ENER AL SU G G E S T I O N S F OR TE A CH ING
P H R A S ING .
“
,
”
g re ss i
never a fterward s forgotten or neglected .
AR T I CU LA T IN G P H R A S ING .
g ine a
“
te acher o f E ng lish reading who had no
”
,
N o te T h e p h ra s i ng i v y cl s er ea r ly i d in ca te d i n th e
S dB to n E d i ti n ( A ll n)
.
ta nf o r -
ar o a .
13 4 The Art o f T eac hing .
p ret a t i o n m i g ht be avoided .
E xamples
(“l B th v
ee o en, Op 2. No I
i
. . .
B h v Op
eet o en. 13.
i
.
l3 5
be almost imperceptib le .
i bi °
B th v O p
ee o en, . 28 .
B h ac , i
F u gu e i n G m no r . B h ac , F u gu e i n Bfl at .
E X PR ES S S I VE P H R AS ING .
I3 . M O NOPH O NI C AN D P O LYP H O NI C MU S I C .
M end el
sso h Op
n, .
38 N o
, . 0 .
”
be sa id o nce more everyone knows a l l this it may , ,
Ex 2
. . C h pio n, Op 3 2 , N o 2
. . .
(M .
(b) w ro ng .
obscured .
l46 The Art Of Te aching .
Ex 5
. .
t w o essenti a ls th a t s o ma n
y s t u d ents f a i l .
Hid d e n M elo d ie s . I47
H IDDEN ME LOD IE S .
I M I TA TI V E PAS S A GE S .
’
is o f course one o f the A B C s o f al l educated
, ,
*
’
quick pupi l o f a year s standing may be initiate d
’
into the virtues o f p olyphonic study B ach s smal l .
O r R i e ma nn s ‘T e ch ni cal S tu d i e s i n
'
P o ly p h o ni c P l ay
i ng ( S tei ngr ab er E d i ti o n, N o .
l5 2 The Art o f T eaching .
”
pression ; and for a ful l exposition o f how to p lay
’
B ach s fugues on the piano study C hapter I II o f ,
( Reeves )
“
T ouch Phrasing and Interpretation
”
, .
1 5 . H ow TO TE A CH TH E U SE OF THE PED A L .
“
Here once more it may be said : Surely a l l this
, ,
“ ”
numberless cases where it is not marked an d it ,
woo d or a Steinway .
nature and the greater the fami liarity with the best
,
discrimination probab ly be .
’
preludes and fugues o f B ach s an d point out what ,
’
o f much o f H andel s music by typical transcripts
from hi s finest works In the same way he may cal l
.
K u lla k ,
“
[ E sthetics of Piano forte P laying ”
( Schirmer )
H ow to U se the Pedal
.
“ ”
J A l fred Johnstone
.
,
( Ashdown ) ’
.
”
M arx B eethoven s Piano forte Works ( C layton
,
“
S ummy ) .
’
K u lla k Beethoven s P iano P lay ing ( Schirmer)
,
“ ”
.
( A u gener) .
( A u gener) .
“
C hristiani Piano forte lE sth eti cs ( Harper ;
”
,
Reeves) .
“
J A l fred Johnstone
. Phra sing in P iano Play ,
-
Q
t ath am My Thoughts o n Music and Musicians
,
( C hapman ) .
“
J Al fred J ohnstone Touch Phrasi ng and Inter
.
, ,
pretation ( Reeves ) ”
.
( Schirmer ) “
.
“ ”
N i eck s D ict ionary o f Musica l T erms
,
“
S tainer and B arrett D ictionary o f Musical ,
T erms ( N ovel lo )
”
.
“
H il es D ictionary o f Musica l Terms
, .
”
( Macmil l an ) .
Su ggesti o ns f o r Te a ch i ng Fi nge ri ng ,
an d Ea r~Training .
r
. F INGERING .
1 63
164 The Art o f T eaching .
”
l ine correction upon correction the same fault to
, ,
”
stone T his hopeles s condition m ay general ly be
.
3 I ; in B fl at harmonic minor u se 2 3 4 I
, , , , .
Fing ring e . l 67
There are certain mistakes in the fingering o f
scales so common that t hey shou ld be guarded
ag a inst with especia l c are F o r example in the
-
.
,
shou l d not fol low the fir st b l ack note in the sca les
of E fl at and A fl at harmonic minors le ft han d ,
descending .
’
Frank lin Tay lor s ru l es for the fingering o f maj or
sca les in doub le third s an d sixths are s o simple and
convenient that they may be quoted :
S ca les in third s : u se the litt le finger but once in
e ach octave R ight han d sharp scales as far as
.
,
3 4 5 3 4 3 4 3
’
1 2 3 1 21 21
Scales in sixths : use the mid dle finger o nce in
e ach octave .
.
,
’ “ ”
sohn s L ieder ohne Worte p rovide ample material
f o r such p ractice as it required And the teacher .
pu i1
i s to the con fusion caused by using two sets o f
.
“
lish and F oreign fingering
” ”
.
S OM E U S E F UL W OR K S ON F INGERING .
“
Art o f E xpression P ar I 7
The ,
”
. .
”
Frank lin Tay l or Primer o f Piano forte P laying ,
“
-
C hapter II I ( Macmil l an ) .
,
”
.
( A u gener) .
II ( H ammon d ) .
V IX ( Schirmer )
-
.
an .
Q U SES A ND A B U S E S OF RE A DING A ND
ME M ORI S ING .
average man .
v el o
p the one are likely rather to weaken aptitude
and power for the other But ef ficiency in either i f
.
,
pleasure .
RE A DING .
N ever
al low the pu p i l to stop to correct a
sing le mistake o r to pick up a note mis sed Whether
, .
’
p art o f the pupil s work i s the practice o f reading
duets or accompanying some instrument o r voice
, ,
’
the purpo ses o f the y o u ng pupil G u rlitt s music is ,
C lementi m a y be recommended
,
T hese may be i h .
’
G u r litt s opus numbers I 3 O 2 1 9 2 2 4 2 0 5 7 4 I O I , , , , , ,
’ “
1 04 ; Krug s Album L ieb linge der Jugend ; ,
”
’ ’
G e mer s
“
r Schoo l o f Sonatina P laying ; Li to lff s ”
“ ’
C lassics for the Young ; Schar w enka s
“
Album ”
’ “
for the Young ; an d N eu sted t s B luettes and
” ”
“ ”
Pens ées may be suggested a s something like the
kind o f pieces suitab le f o r youth fu l readers .
“
E lementary Sight Rea ding Album ( A l lan ) ”
.
I8 2 The A rt o f T eaching .
“
I woul d give anything to be ab le to p lay as a great
“
p layer I once heard ; I ad d except the work
”
, .
”
7 . ME M OR I S ING .
T here
is l ittle doubt that by far the most per fect
metho d o f memorising consists in a studious com
bination o f the three metho ds suggested suiting the ,
’
tice especia lly i f it be begun early in the pupil s
,
s ti ncti v e l
y that metho d o r combination O f methods
best suited to his own c ase .
The most excel lent work yet pub lished upon this
subj ect i s that by D r Shinn ( Vincent C ompany ) .
,
“ ”
entit led Musica l Memory and i ts C u ltivation .
C HAPT ER V .
I . E LE M EN TS .
“
T H E S E are not practical subj ects There are .
”
Musica l Know ledge is no w l argely di ssipate d
1 37
I88 The Art o f T eaching .
“
ha s to do with smoothnes s wou l d not be very ”
“ ”
l iquid touch prov e the utter absurdity o f this ,
“
sweet ly do not rest content until your pupil gives
,
”
’
un derstan d that a lla rg a a a o usua l ly means a little ,
“
textbooks on the subj ect o f this sectio n : The
R oy a l Ro ad to Ru diment s o f Music and Ques ” “
2 . H A R M ON Y .
’
Mi lton s verse by a scho lar with that by a lad who ,
‘
tifu l structures o f intel ligent ly and care ful l y
a rranged proportions And to make this view clear
.
th e mind .
’
A s the student s educatio n in form a l structure
a dvances p art o f every lesson should be devoted to
,
”
C lavier may feel a j ust confi dence that whatever
, ,
’ ’
case o f B eethoven s sonatas and B ach s fugues not ,
4 . S OM E U S EF U L W OR K S ON TH E SUBJECTS
T RE A TED IN TH I S C HA PTER .
I . E LE M ENTS OF MU S I C .
Week es ) .
“
F isher The C andidate in Music ( C u rw en)
,
”
.
“
J opl ing I 5 0 Questions ( Weekes )
,
”
.
2 . H A R M ON Y .
“ ’
Man sfiel d The Student s Harmony (Weekes )
,
”
.
‘ ’ ’ ”
dies to The Student s H armony ( Weekes ) .
“
Prout H armony S ixteenth e dition ( A u gener)
, ,
”
.
M a cf a rren
“ ”
S ix L ectures o n H armony
,
.
I . TH E L E S S ON .
N U M B ER AND L ENG T H OF L E S S ON S .
effect i ve I nstruction .
’
In the ear ly stages o f the pupi l s tuition each ,
“
take things easy for a moment The easy moment
”
.
4 . O RDER OF S U B j EC Ts AT L E S S ON S .
, ,
’
As regard s pieces there is o ne part o f the teacher s
,
i
str ct attention to a few piece s until they are
i ng
thoroughly wel l learnt ; while others recommend that
a great dea l o f music shou l d be gone thr o ugh each
year even though its rendering fal l far short o f what
,
a ru le to be expected
, As has been suggested in a
.
’
few years o f the pupi l s educational course at al l ,
memorised .
6 . TH E PR A CTI CE H OU R S .
hours req uired for dai ly practice but also the propor
,
’
archangel s instructions wou l d prove futile i f the
practice we re left to the care o f itsel f or were rele
gated to the tender mercies and j udgment o f the
ordinary pupil .
210 The Art o f Te aching .
8 . S L OW PR ACTI CE .
9 D I FF IC U LT PAS S A GE S
. .
ea S
y as the e a siest mea sure o f the piece .
DR . R IE MA NN .
Dr . Riemann
recommends that an hour be broken
into two halves f o r morning and a fternoon p rac
tice ; one and a hal f hour s into tw o three quarter
,
—
Sugge sti o ns o f Emine nt Te a che rs f o r Practice . 215
FR A N KL I N T A Y LOR .
An H oa r an d
S tudy
O ld s tudy a lread y learnt
P l ayi ng over piece alre ad y l e arnt ,
rea ding
To ta l 90
F o u r H o u rs H o u rs .
Technica l '
w ork
Tw o o ld stu d i es
Sonata o r co nce rto
A f t ernoo n .
F inge r xercises
e
To ta l 1 20
218 The Art o f T ea ching .
S eco nd D i v i s i o n .
M IN S .
Sca les
P iece
Thi rd D i v i s i o n .
Re -
learning o ld
F i v e H o u rs i n F o u r D i v i s i o ns :
F i rst D i v isi o n
.
E xercises
S tu dy 60
S eco nd
S cal es a nd exercise s
P i eces
Th i rd D i v i s i o n .
Re learning
-
ol
d piece
Reading 30
F o u rt h D i v i si o n .
d i rect s
A UER
P .
One H o u r .
S tu dy
Sh gges tio ns o f Eminent T eacher s f or
Li gh ter pie ce .
Af ternoo n
- .
S ona ta o r co n ce rt o
ii
R ep et t on of fo rmer p iece s
f
SC H OO L .
220 The Art o f T eaching .
F i v e H o u rs f or M o rni ng d Af
an terno o n
.
Technical exercises
E tu des
N ew piece s
Rev i s i on and readi ng
G ORD ON S AUNDER S .
Te ch nical exercise s
S cales
Pie ce
To ta l 60
One H o u r
T echnical exerci se s
O ld
piece o r s tu dy
Memori si ng
Tot al 90
O
H
V
O
H
V
O
N v- ( OO ——
v lv t r- l Ol
O
H
V H.
O O
m
O
H
O
H
O
N
O
H
O
H
O
H
LO LO
a
n .
CD C O O O O
H H H H
LQ LQ I oo
O H 02
D O C O LD O o O O
H n H H
c lO
O o O O O a
f
l m
OO H H n H m l
l
o l
LQ O LQ LQ O O w l“
O
m W
LQ O LQ LD O O m N
l
H
o ?
'
o O O O O O O O O
n N H H O H H
o
O O O O O O O lm M
n N . H N H H
O
m
O
H
O
H
O O
N
O O ‘
lo
m
H
O
N
' o
O O O O O O m N
N H N
O O O w
H H
H O H H o H
8
H
“ O
2 n m u
2 E i
m
E i
m w E E
m
o
N N
a
N 6 o
o 3
mm 3
mo
.
; 8 8 2
.
w
.
8 .
o H c c
o
mw
o
8 o
mfi a
o
U o w m H
3 : m nH
A e o
fi m
a
m m3
o
x
H m : G m o q
d o
m a H
.
H
o o
oG
O C
m fiL a 5 o
9
o
o
w
E E n o 8 fi
m
w o u
w o
2 gE
om
o w o o S w
c
o
n0
8 U H mM w fi
/
H
H
i <Q
m
m
9
.
95
. .
93
o O O
E
H
m
. .
n 0 H N
C HAPT ER V II .
1 . G R A DED G UIDE S N OW PU BL I S H ED .
their scope .
’
Mecum o f a Pro
”
f e sso r .
a
C ON C I S E C L A S S I F IED A ND G R A DED L I S TS o r
E DU CATI ON AL MU S I C .
L i fe
”
.
D u ssek ; C lementi ; K u h la u .
“ ” “
and Pens ées ; L i to lff C l assics for the Young ; ,
”
C lassif ied an d G rad e d Lists o f Ed u catio nal M u sic . 227
’
for intermediate and
senior student s Hummel s C ompositions ; Men del s
.
’ ’
sohn s L ieder ohne Worte ; Mozart s an d B eet
“ ”
’ ’ “
hoven s Variations ; G ri eg s L yrische S tii ck e ;
”
“
Henry V II I an d N el l G wynne ; Schubert s Im
” ’ “ ”
’
p ro m p tu s an d other piece s ; VVeb er s misce l laneous
pieces ; G a de s short pieces ; and Hel ler s T aran
’ ’ “
Pre ludes
’
an d ’
Scherzo s ; L iszt s R hap so dies ;
Brahms s compositions ; an d the more difficu lt works
o f B ach \ Veb er Mendel ssohn R ubinstein Schu
l
, , , ,
mann .
’
( H ) Beethoven s sonatas g raded As many young
. .
rule f o r al l .
O p 49 N o 2 ; O p 49 N o I O p 7 9; O p 1 4 N o
.
, . .
, . . .
,
.
1 ; Op 1 4 No 2 ; Op 2 No
. 1 ; Op
,
10 No 1 ; Op . .
, . .
, . .
1 0 N o 2 ; O p 1 3 ; Op 1 0 N o 3 ; O p 2 6 ; O p 7 ; Op
, . . .
, . . . .
2 8 ; Op 2 No 3 ; Op 3 1 No 2 ; O p 2 2 ; Op 2 7 No
.
, . .
, . . .
,
.
2 ; Op 27 N o I O p 3 1 N o 3 ; O p 2 N o 2 ; Op 3 1
.
, . .
, . .
, . .
,
N o 1 ; Op 54 ; Op 7 8 ; Op 9
. 0 ; Op 8 1 A ; Op 5 3 ;
. . . . .
5 7 ; O p 1 0 1 ; O p 1 1 0 ; O p 1 1 1 ; O p 1 09; O p
. . . . .
10
Veb er and
l
, ,
Schuber t
MENDEL S S OH N ’
S
“
L IEDER O H NE W OR TE "
G R A DED .
9 4 48 6 44
, , , , , 1 6 , I 4, 2 8 , 3 5 . 3 3 47 , ,
2 5, 3 1 , 2 7 , 4 2 , 3 7 , 40 ,
2, 1 0, 1 1 ,
2 6, 7 , 3 6 ,
29, 1 5 , I 3 , 2 1 , 39 , 4 5 , 3 4 , 3 o , 3 2 , 43 , 3, 1 8 24 , ,
23,
23 0 The A rt o f Te aching .
G RA DE I ( E lementa ry ) .
I C h a nso n d e C h asse
. A G u elia ni
.
( S ch o tt) .
2 B erceu se
5 C a v a ti na
F
.
e ui l le t d Alb u m
’
4
5 B a r ca r o lle 91
6 A B C W a lt
. z
7 S ere ne M o r ni ng G u rlit t, O p 1 01 No 3
F
, .
. .
8 Th e air No 8
H
. . .
9 unti ng S o ng No 19
W z
. . .
1 0 alt No 1 1
F k
. . .
1 1 a i ry B a r l
S m a lw o o d
M
. .
1 2 G o o d ni gh t N o ctur n e
-
i llw a d r
F l
. .
I3 C o nve nt C h i m e s e i x G a ti er u
F
. .
O p e r a ti c G e m s , a u s t
zz
,9
1 5 L a G a a L ad ra
W
.
I6 . i lli a m T e ll
1 7 M a ssani e llo
P M
.
1 8 C h r i stm as C a r d s G oo re
P
. . .
1 9 Al b u m o f S i x te e n i e ce s
M i ll r d
.
zo G o o d by e N o ctu r n e w a
F
-
. .
21 a ir
y S no w d ro p
f
.
23 a i ry B o nh eu r
D
. .
24 Le ep a r t S trea b o g
M
. .
25 Th e . i ll J ensen, O p 1 7 , N O 3 . . .
26 R i go le tto ‘
. K g ru .
27 Th e T r u a nt s R e tu rn L a nge , O p 7 8 , N o 7
D M
. . .
28 a n ce d es
. a ri o nett e s W a ch s .
G R A DE 11 .
R E d e lw e i ss L a nge .
O
O F u r D i ch
P B lu m e nli ed
-
U L o ngi ng
I
G A n d er W i ege
Po p ular or Light Pi ano f orte Pi e c es G r ad ed . 23 1
7 . F
O r age N i ch t L ange .
8 . D i e Li eb elle
9 . 1 m Ah nensch lo ss
IO A lmro sch en
D
.
H
1 1 . ei n E i gen 9'
1 2. G o nd ellied O es te n
M
.
1 3 a r ch e G o uno d
P f P P M
. .
I4 N i ne i a no o r te i eces G. o o re
V
. . .
1 5 i llette S mall w oo d
F M
.
1 6 . A ragment end el s so h n .
I 7 N a p o l i ( T a ra ntella i n A M attei
W
.
1 9 E ve ni ng S h a d o w s i llw a rd
D
. .
20 S y lv i a G a vo tte el i be s
M
. .
2 1 . a gi c R i l
l S i v ra i .
23. L a B o h e mi enne
24 P k
ol a El ega nt e Ki r ch ner , Op 409
M W t n
.
25 . L e C o r d e C h a sse . a so .
2 6. B a d i na ge V n W i l m Op
o 1 33
D ur nd O p 8
.
,
.
27 P o m p o nette a 0
Ki nk l
. ,
28 S e r ena d e d es Ange s e
2 9 T a ra ntella Cl d t au e
M z k D n
. .
30 . S p r i ng B lo sso ms ( a ur a ) or .
33 S u r le L a c K i rch ne r
k D
.
34 . H ammo c S o ng T F . unh i ll
. .
G R ADE I II
.
I The W a nd er i ng M
ai d e n L a nge
z D
.
2 H et li ed ( R o sen o h ne o r ne n)
M
i
3 i nu ett o Cha mi na d e , O p 2 3
4 D a nse Anci enne 0 13 7 5
B
.
’
!
”
U H e ar t s E a se m end el
F M
unera l a rch o f ; M a riiine tte
.
0 G o uno d .
V S y lp h es B a ch ma nn .
D
\ G a vo tte ura nd , Op 8 4 . .
23 2 The Art o f T eaching .
1 0 Fi rs t W a lt z D u ra nd
Hu
' .
I I . sa e nr r i tt S p i nd le r .
1 2 llB a ci o A rd i ti
M z Min
. .
u e t a nd T ri o i n E fl a t S ch u lh o ff
'
1 3 o ar t s
Adi
.
I4 eu D u s se k
M H
.
1 5 Th e e mai d r el le r
V M
.
1 6 al se V i e n no i s e G P . oo re .
I 7 T a re nt e le tte
.
1 8 R i to r n e lle C h a ni i na d e
H
. .
1 9 G a v o tte i n G m aj o r a nd e l S i v ra i -
z
. .
20 G a elle. W o llenh a u p t .
2 1 S ti lle L i eb e L a nge
D
. .
22 P e a sa n t s
. a nce K e télb y .
23 H u i no res ke
. Vo n W i lm .
24 T a r a nt elle L eb i e rr e
H mo r e s k e v r k
. .
2 5 . u D o a .
26 T a lo n R o ge ( G a v o tte) u B ea u mo nt
M f P
.
.
’
27 Ou . u s i c s S o te s t i ni o ns M end elsso h n L ange -
.
28 T h e T ro t
. u S ch u b e t L a nge r -
.
2 9 L e So ir
. S ch y tte ( Au gene r, N o .
8 4 4o a »
3o S ca rf
D a n ce C h a mi na d e , Op 5 4
A
. . .
31 . S a lu t d mo u r E lgar .
32 N ad ia VVa ch s
F z
. .
33 a s ci n a ti o n W a lt
G R A DE IV .
H F eu F olle t ( lrrlich t) L a n ge
H
.
2 o r te nsi a
W A ll g
.
$9
0
0
a n d e rs tu nd e n , No 2, e re tto
H
.
i n D fla t eller
e La i leu se F S tr e a lb o g, O p 91 . .
w P i ere tte C h a mi na d e , O p 4 1 . .
a L o lita Op 5 4
D ra l
. .
v a nse P a s to Op 3 7
m C a llirh o e
. .
e F o u r th W altz D u ra n d O p 90
W a ltz
, . .
He S e co n d Op 86 . .
Hr B a b i lla ge H Op 8 1 . .
23 4 The Art o f T e aching .
21 M in u et Pa d e re w s k i
A
.
.
22 C a p ri ce su r les i r s d e B a lle t
k
.
’
d Alce s te d e G lu c S a i n t S a ens
-
z
.
23 C h a n t P o lo na i se , N o I , m u Lis t C hop in
k vk
-
.
A
. .
24 . lb u m T ch a i o s y ( L i to lf f
E d i ti o n
2 5 . R i ga u d o n
G RA DE
C a mp a nella Li s tz .
L e Pa p i llo n L a v a llee .
T h e S p i nni ng W h e e l S to j o w s k i .
T ra nscri p ti o n , O ve r t u r e to T a n n
Lis t z
M
.
Il o to r
P e p e tu o W e b er B a h ms r
I nv i ta ti o n to W a ltz
.
W e b er T a u s i g
-
k v
.
I s la m e y , O ri e n ta l F a nta si a B a la i re .
T a ns cri p ti o n o f W a gne r s W a l
r ’
ku
r e ni i tt T a u si g
z
.
R h ap s o d i e s N o s 6 8 1 0 , 1 2
. Lis t .
r
I m p o m p tu i n A fl a t G la z o u no v .
B a lla d e i n G m i no r B ra h m s .
R h a p so d y i n G m i no r Op 7 9 N o 2
Hu
.
S! , . .
1 5 . A i d su mm er ig t s
h N
‘
rea m M e nd elsso h n Li s t -
.
1 6 u
L a L cci o la L e s ch e ti tz ky
D u
. .
R e fle ts d a ns lE au eb s sy
'
I 7
H
. .
1 8 R i ga u d o n i nto n, Op 2 3 N o I
D z
. . .
, .
tu
S d y in fla t Lis t .
Suggestio ns u p o n the C ho ic e o f T e a ching Editi o ns . 23 5
( ) A . B A CH ’
S W OLTEM P IR IR I E S ' ‘
A
C L V I ER .
to ri ca ll y it is intere
,
sting a s the first important co n
’
issue i s publ ished in Pe ters s edition Its text i s o f .
“
e dition o f the 4 8 is purely a critica l text ; an d it
is in this respect a considerab le advance o n the
, ,
v erb i a l
“
doub le D utch E ven the textua l re
-
.
”
g esti v e phrasing .
TEX TU AL E DI TI ON S .
o f expression fingering ,
metronomic indications and
,
S U MMA R Y OF EACH E DI TI ON S .
E DI TI ON S or B EE TH OV EN ’
S S ON A TA S .
o .
the very art o f teaching w hich they pro fes s but also ,
—
B EETII OVEN T EX TU AL E D I TI ON S .
“ ”
conj unction with his L etters t o a L ady pub lished
by A u gener T h e S tei ngr ab er edition as in dee d is
.
,
P H R A S ING E DI TI ON S .
B ach s fugues
'
.
240 The Art o f T eaching .
D r L ebert , for
. the ear lier works as far a s O p 5 3 ,
.
,
o f the fact that they were among the ear liest pion ~
( c) . E DI TI ON S OF C H OPIN .
’
M i k u li s edition c laims the merit o f adhering
’
cl osely to C hopin s own fingering and phrasing i f ,
, .
( D) . E DI TI ON S or O TH ER CO M POS ER S .
C ott a E dition .
C otta.
Schumann .
E dition .
I . A G ENU INE LO VE F OR MU S I C .
for its own sake the per form ances o f both pupi l and
teacher wi ll sure ly cal l to the min d o f th e b earer
E zekie l s vision o f the val ley o f dry bones It is far
’
.
“
is the radical reason why we hear so much sound
”
ing bra s s an d so many tink ling cy mba ls f ar an d ”
4 . LE A RN To P L AY S I M PL E P IE CE S WELL .
’
B eethoven s view o f this matter is the only one
’
,
success is assured .
thing even twice She knew tha t the obj ect o f the
.
7 . H ow TO A V OI D TH E D RE AR Y D U LL NE S S or
C OMM ON PL A C E I N P L AY ING .
ful l y sharp cut lines the saw the p l ane and the
-
, ,
25 4 The Art o f T eaching .
( F ) Wherever
. po ssib le get y our work as a teac h er ,
25 6 The Art o f Te aching .
B y to i li s th e w ay up w a r d up w ar d, th e re fo re to i l .