Part 7

[Sidenote: _How Organ-Playing Affects the Pianist_]

Is alternate organ and piano playing detrimental to the "pianistic touch"?

Inasmuch as the force of touch and its various gradations are entirely irrelevant on the organ, the pianist who plays much on the organ is more than liable to lose the delicacy of feeling for tone-production through the fingers, and this must, naturally, lessen his power of expression.

[Sidenote: _Organ-Playing and the Piano Touch_]

Is it true that a child beginning music lessons on an organ gets much better tone than one beginning on a piano, and does the side study of pipe-organ, after two years of extensive piano work, impair the piano touch?

It is only natural that a child can get better tone out of an organ than on a piano, because it is not the child but the organ that produces the tone. If the child's purpose, however, is to learn piano-playing it would not be wise to let him begin on an organ, because this would leave the essential element--the art of touch--entirely undeveloped. And if his piano touch has been formed it can easily be undone again by letting him play on the organ.

15. FINGERING

[Sidenote: _The Universal System of Marking Fingering_]

In what respect does American fingering differ from foreign fingering, and which offers the greater advantages?

There is no "American" fingering. Many years ago the "English" fingering (which counts only four fingers and a thumb, and indicates the latter by a plus mark: +) was adopted by a few of the less prominent publishers in America; but it was soon abandoned. If you have a piece of sheet music with English fingering you may be certain that it is not of a recent edition, and I would advise you to obtain a more modern one. The advantage of the universal fingering lies in its greater simplicity, and in the circumstance that it is universally adopted.

[Sidenote: _The C-Scale Fingering for All Scales?_]

Do you advise the use of the C-scale fingering for all the scales? Is it practicable?

The C-scale fingering is not applicable to scales reposing on black keys because it creates unnecessary difficulties, the mastering of which would be a matter rather of mere sport than of art.

[Sidenote: _Fingering the Chromatic Scale_]

Which fingering of the chromatic scale the is most conducive to speed and accuracy?

The right thumb always upon E and B, the left one upon F and C. Between times use three or four consecutive fingers as often as convenient. At the beginning of a long chromatic scale select such fingers as will most naturally bring you to one of the stations just mentioned.

[Sidenote: _The Fingers Needed to Play a Mordent_]

When executing the mordent, is not the use of three fingers preferable to two?

The selection of the fingers for the execution of a mordent depends always upon the preceding notes or keys which lead up to it. Since we cannot lift the hand just before a mordent for the purpose of changing fingers (for this would mean a rude interruption) we have to use whatever fingers happen to be "on hand." An exchange of fingers in a mordent is seldom of any advantage, for it hampers precision and evenness, since, after all, each finger has its own tone-characteristics.

16. THE GLISSANDO

[Sidenote: _To Play a Glissando Passage_]

Will you describe the best method of holding the hand when playing glissando? Which is preferable to use, the thumb or the forefinger?

In playing glissando in the right hand use the index finger when going upward, the thumb when going downward. In the left hand--where it hardly ever occurs--use the middle finger in either direction, or, if you should find it easier, the index finger downward. The production of so great a volume of tone, as is possible on our modern piano, has necessitated a deeper fall of the keys than former pianos possessed, and this deeper dip has banished the glissando almost entirely from modern piano literature.

17. OCTAVES

[Sidenote: _How Best to Play the Octaves_]

Should I play octaves using the "hinge" stroke from the wrist or by using the arm? I find I can get more tone by using the arm stroke, but cannot play so rapidly.

The character of the octaves must govern the selection of means to produce them. For light octaves use the wrist, for heavier ones draw more upon the arm. Rapidity requires that you avoid fatigue. If you feel fatigue approaching from too constant use of one joint, change to the other, and in doing this change also the position of the hand from high to low, and _vice versa_. For wrist octaves I recommend the low position of the hand, for arm octaves the high one.

[Sidenote: _Rapid Octaves_]

Please suggest some method of playing octaves rapidly to one who finds this the most difficult part of piano-playing. Would be grateful also for naming some octave études that could be used in the répertoire.

If rapid octaves seem to be "the most difficult part of piano-playing" to you, take it as an indication that they do not suit your nature. A "method" will never change your nature. This need not discourage you, however; it is only to prevent you from trying to make a specialty of something for which you are not especially qualified and to save you a needless disappointment. Hold arms and hands in but a slight tension, and at the slightest fatigue change the position of the hand from high to low and _vice versa_. Your seat at the piano should not be too low. Study the first book of Kullak's Octave School, and, later on, the second book.

[Sidenote: _When Playing Octaves_]

When should I use the arm to play octaves as I have seen some concert players do? As I was watching them there did not seem to be the slightest motion from the wrist.

Most concert players play their octaves more from the arm than from the wrist, but their wrist is nevertheless not so inactive as it seems to have appeared to you. They have probably distributed the work over the wrist, the elbow, and the shoulder in such a way that each had to do only a part of it. Light octaves can come only from the wrist, while heavier ones put the elbow and shoulder into action. To make this distribution consciously is hardly possible. A striving for economy of force and the least possible fatigue will produce this "division of labour" unconsciously.

[Sidenote: _Wrist Stroke in Long Octave Passages_]

When playing extended octave passages, such as the Liszt arrangement of "The Erlking," should the endeavour be to play all from the pure wrist stroke; or is it well to relieve the strain by an occasional impulse (a sort of vibration) from the forearm? Is there any advantage in varying the height of the wrist?

In extended octave playing it is well to vary the position of the wrist, now high and then low. The low position brings the forearm into action, while the whole arm coöperates when the wrist is held high. From the wrist alone such pieces as "The Erlking" cannot be played, because the wrist alone gives us neither the power nor the speed that such pieces require. Besides, the octaves, when all played from the wrist, would sound "cottony." The wrist alone is to be used only in light, graceful places.

[Sidenote: _Stiff Wrists in Playing Octaves_]

In playing octaves or other double notes my wrist seems to stiffen. How can I remedy this?

Stiffness in the wrist results from an unmindful use of it. When practising octaves or double notes think always of holding the arm and its joints in a loose, limber condition, and when you feel fatigued do not fail to stop until the muscular contraction is relieved. In a little while you will see your conscientious practising rewarded by acquiring an elasticity commensurate with your general physical status.

[Sidenote: _Premature Fatigue in the Arms_]

Why does it tire my arms when I play octaves and a continuation of little runs? How can I avoid it, so that they will feel free and easy?

Premature fatigue is usually caused by undue muscular contraction. Keep your arms and wrists loose and you will find that the fatigue disappears. For your sensation of fatigue may be due, not to exhaustion of muscular power, but to a stoppage of circulation caused by an unconscious stiffening of the wrist. Change the position of the wrist from high to low and _vice versa_ whenever you feel the "fatigue" coming on.

[Sidenote: _Kullak's "Method of Octaves" Still Good_]

Is Kullak's "Method of Octaves" still one of the best in its line? or can you recommend something better?

Since the days when Kullak's "School of Octaves" was printed, experience has taught us some things which might be added to it, but nothing that would contradict it. Nor, so far as I know, has anything better appeared in print than the first volume of that work especially.

18. REPETITION TECHNIQUE

[Sidenote: _The Difficulty of Playing Repetition Notes_]

Please help me about my repetition notes. When I wish to play them rapidly it seems that the key does not always produce a sound? Is it because of my touch?

First, examine the action of your piano. It occurs not infrequently that the fingers do their work well, but fail in the results because of an inert or lazy piano action. If, however, the fault does not lie in the instrument, it must lie in a certain stiffness of the fingers. To eliminate this you need, first of all, a loose wrist. Furthermore, you should not, in repetition technique, let the fingers fall perpendicularly upon the keys, but with a motion as if you were wiping the keys with the finger-tips and then pull them quickly toward the palm of the hand, bending every joint of them rapidly.

19. DOUBLE NOTES

[Sidenote: _The Playing of Double Thirds_]

Please tell me something about the general practice of thirds, both diatonic and chromatic; also, about those in the first movement of the Grieg Concerto.

As the playing of passages in single notes requires a close single legato, to do double thirds requires an equally close double legato. As to the exact details of legato playing I may refer you to my book, "Piano Playing," where you will find the matter discussed at length in the chapter on "Touch and Technic."

THE INSTRUMENT

[Sidenote: _The Kind of Piano Upon Which to Practise_]

Is it irrelevant whether I practise upon a good or a bad piano?

For practice you should never use any but the very best available instrument. Far, rather, may the piano be bad when you play for people. This will not hurt you nearly so much as will the constant and habitual use of a piano with a mechanism in which every key demands a different kind of touch, and which is possibly out of tune. Such conditions impair the development of your musical ear as well as of your fingers. It cannot be otherwise. As I said once before, learning means the acquiring of habits: habits of thinking and of doing. With a bad instrument you cannot develop any good qualities, even if you should possess them by nature; much less can you acquire them. Hence, I recommend a good piano, clean keyboard--for your æsthetic perceptions should be developed all around--a correct seat and concentration of mind. But these recommendations presuppose on the part of the student some talent and a good teacher.

[Sidenote: _Do Not Use a Piano Extreme in "Action"_]

Is it not better for a student in the advanced stage of study, who is preparing for concert work, to practise on a piano with a heavy action in order to develop the finger and hand muscles, and to use an instrument with a light action for obtaining an artistic finish to the lighter passages occurring so often, for instance, in Chopin's music?

All extremes are harmful in their effects upon study and practice. A too heavy action stiffens and overtires the fingers, while too light an action tends to impair your control. Try to obtain for your practice a piano the action of which approximates as nearly as possible that of the piano on which you have to play in the concert, in order to avoid unpleasant surprises, such as premature fatigue or a running away of the fingers.

[Sidenote: _How Tight to Keep the Piano's Action_]

Should I keep the action of my piano tight?

Keep it tight enough to preserve the "feeling" of the keys under the fingers, but to make it more so would endanger your finger action and it may injure your hand.

[Sidenote: _The Action of a Beginner's Piano_]

Do you think it wise for a beginner to practise on a piano that has a heavy action?

That depends upon the age and physical development of the beginner. "Heavy" and "light" action are not absolute but relative terms, which comprise in their meaning the power of resistance in the player's hand. The action should be so adjusted that the player can--even in the softest touch--always feel the key under his finger. A too heavy action leads necessarily to an employment of the shoulder muscles (which should be reserved for brief, special uses) and may permanently injure the hand.

[Sidenote: _Playing On a Dumb Piano_]

Are mechanical appliances, such as a dumb keyboard, of advantage to the student of the piano? Should its use be restricted to a particular stage in the course of study?

Music is a language. Schumann said: "From the dumb we cannot learn to talk!" The totally dumb or mute piano should, therefore, not be used, or very little, if we aim at a "musical" technique--that is, a live, multicoloured technique qualified to express musical thought and feeling. Personally I have never used a dumb piano.

THE PEDALS

[Sidenote: _A General Rule About the Pedal_]

Should I use the pedal with each melody note? Should like a general rule.

The treading upon the pedal should always follow immediately after the striking of the note for which it is intended, or else there will be discords arising from the mingling of that note with the one preceding it. This is the general rule. Exceptions there are, of course, but they occur only in certain moments when a mingling of tones is purposed for some special effect.

[Sidenote: _The Use of the Pedal for Colouring_]

What is the use of the damper pedal?

Primarily it serves to prolong such tones as we cannot hold with the fingers. But it is also one of the greatest means for colouring. The employment of it should always be governed by the ear.

[Sidenote: _How to Use the Pedal_]

Please tell me how to use the pedal. I find that in some pieces there is no mark under the measures to show me when it should be used. Is there any rule which you can give me?

Assuming that you have in mind the artistic use of the pedal, I regret to say that there is no more a rule for this than for the mixing of colours upon the palette of a painter who strives for some particular shade or tint. He knows that blue and yellow make green, that red and blue make purple; but those are ground colours which he can rarely use. For the finer shades he has to experiment, to consult his eye and his judgment. The relation between the pedal and the player's ear is exactly similar to that of the palette and the painter's eye. Generally speaking (from sad experience) it is far more important to know when _not_ to use the pedal than when to use it. We must refrain from its use whenever there is the slightest danger of unintentional mingling of tones. This is best avoided by taking the pedal _after_ striking the tone upon which it is to act, and to release it promptly and simultaneously with the striking of the next tone. It may be at once taken again, and this alternation must be kept up where there is either a change of harmony or a succession of "passing notes." This is the only positive rule I can give, but even this is often violated. Let your ear be the guardian of your right foot. Accustom your ear to harmonic and melodic clarity, and--listen closely. To teach the use of the pedal independent of the action of your own ear is impossible.

[Sidenote: _Let Your Ear Guide Your Pedalling_]

In Weber's "Storm" should the pedal be held down throughout the entire piece, as directed? It produces quite a discord.

Without knowing this piece, even by name, I may say that the pianos of Weber's time had a tone of such short duration and volume that the discords resulting from a continuous use of the pedal were not so noticeable, as they are now upon the modern piano with its magnificent volume and duration of tone. Hence, the pedal must now be used with the utmost caution. Generally speaking, I say--again--that the ear is the "sole" guide of the foot upon the pedal.

[Sidenote: _Use Pedal With Caution in Playing Bach_]

Is Bach's music ever played with the pedal?

There is no piano-music that forbids in playing the use of the pedal. Even where the texture of a piece does not require the pedal--which happens very rarely--the player might employ it as an aid where the reach of his hand proves insufficient to hold all the parts of a harmony together. With Bach the pedal is often very important; for, by judicious use--as, for instance, in the cases of organ-point--it accumulates harmonic tones, holds the fundamental tone and thus produces effects not dissimilar to the organ. Qualitatively speaking, the pedal is as necessary in Bach's music as in any other; quantitatively, I recommend the utmost caution in its use, so as not to blur the fine texture of his polyphony.

[Sidenote: _The Student with a Fondness for the Pedal_]

I always want to use the pedal as soon as I take a new piece, but my teacher insists that I should get a good singing tone first. Is she right?

You "want" to use the pedal? In the face of your teacher's advice to the contrary? Then why did you apply for a teacher? People who consider their own pleasure while engaged in any kind of study need no teacher. They need discipline. Learn obedience! If by following your teacher's advice you should fail to progress, even then you have no right to do anything else than go to another teacher. But he will in all probability not be very different from the first one in his precepts. Hence, I say again: You should learn obedience!

[Sidenote: _Using the Two Pedals at Once_]

May the damper pedal and the soft pedal be used simultaneously, or would this be detrimental to the piano?

Since the mechanisms of the two pedals are entirely separate and independent of each other you may use them simultaneously, provided that the character of a particular place in your piece justifies it.

[Sidenote: _To Produce a Softer Tone_]

Should the expression "_p_" be executed by the aid of the soft pedal or through the fingers?

The soft pedal serves to change the quality of tone, not the quantity. It should therefore never be used to hide a faulty _piano_ (or soft) touch. Mere softness of tone should always be produced by a decrease of finger-force and a lessening of the raising of the fingers. The soft pedal should be employed only when the softness of tone is coupled with a change of colouring, such as lies within its range of action.

[Sidenote: _Do Not Over-Use the Soft Pedal_]

Should the Gavotte in A, of Gluck-Brahms, be played without the soft pedal? Does a liberal use of the soft pedal tend to make the student lazy in using a light touch?

Your first question is too general, as there is no piece of music that should be played entirely with or without the soft pedal; it is used only when a certain change of colouring is proposed. A too frequent use of the soft pedal does tend to a neglect of the _pianissimo_ touch, and it should, therefore, be discouraged.

[Sidenote: _Once More the "Soft" Pedal_]

My piano has a rather loud tone to which my people object, and urge me to play with the soft pedal. I use it most of the time, but am afraid now to play without it. What would you advise?

If a soft touch and sound are liked, have the mechanism of your piano changed at the factory. I found myself in the bad condition at one time that I could not play certain passages independently of the position of my foot on the soft pedal. Such is the strength of association that very soon a constant use of the soft pedal produces physical inability to play unless the foot is pressing the pedal.

PRACTICE

[Sidenote: _The Morning Practice On the Piano_]

In resuming my studies in the morning what should I play first?

Begin with your technical work. Scales in all tonalities, each at least twice well rendered. First slowly, one after another, then somewhat quicker, but never very quickly as long as you are not absolutely sure that both hands are perfectly even, and that neither false notes nor wrong fingerings occur. To play the scales wrong is just as much a matter of habit as to play them right--only easier. You can get very firmly settled in the habit of striking a certain note wrong every time it occurs unless you take the trouble of counteracting the formation of such a habit. After these scales play them in octaves from the wrist, slowly and without tiring it by lifting the hand to a needless height. After this play either Czerny or Cramer, then Bach, and finally Mozart, Beethoven, Chopin, and so on. If you have the time to do it, play one hour in the morning on technical studies and use one hour for the difficult places in the works you are studying. In the afternoon play another hour, and this hour you devote to interpretation. I mean by this that you should now apply æsthetically what you have technically gained in the morning by uniting your mechanical advantages with the ideal conception which you have formed in your mind of the work you are studying.

[Sidenote: _Morning Is the Best Time to Practise_]

How much time should I spend on clearly technical study? I am practising three hours a day; how long should I practise at a time?

Purely technical work--that is, work of the fingers without the participation of mind and heart--you should do little or none, for it kills your musical spirit. If, as you say, you practise three hours a day I should recommend two hours in succession in the morning and one hour in the afternoon. The morning is always the best time for work. Make no long pauses in your work, for they would break your contact with the piano and it would take considerable time to reëstablish it. In the afternoon, after the major portion of your daily task is done, you may move with greater freedom, though even this freedom should be kept within proper bounds.

[Sidenote: _Time to Devote to Technical Exercises_]

Should I practise studies in general for my progress or should I confine myself strictly to my technical exercises?

Your strictly technical exercises should occupy one-quarter of the entire time you can give to your work. Two quarters you should use for the technical preparation of the difficult passages you encounter in the pieces you are studying, and during the last quarter these passages which have been thus prepared should be ranged into their proper places in the pieces, in order that you may not lose your view of the totality of the pieces while studying or practising details.

[Sidenote: _The Only Kind of Practice Worth While_]

In purely technical, _i. e._, mechanical, practice may I have a book or a magazine on the music-stand and read?

This question will appear grotesque to any one who has not thought of it, yet it is legitimate; for I know positively that this crime upon themselves has been committed by many. I cannot warn students too strongly against this pernicious habit. It is far better to practise only half as long, but with concentrated attention. Even purely mechanical matter must be transmitted to the motor-centres of the brain through the agencies of the ear and eye in order to bring beneficial technical results. If the brain is otherwise occupied it becomes insensible to the impression of the work in hand, and practise thus done is a complete waste of time. Not only should we not read, but also not think of anything else but the work before us, if we expect results. Concentration is the first letter in the alphabet of success.

[Sidenote: _Practising Eight Hours Instead of Four_]