Piano Mastery | Page 5

Chopin's, judging from the casts I have
seen of his hand.

"As for technical routine, of course I play scales a good deal and in
various ways. When I 'go into training,' I find the best means to attain
velocity is to work with the metronome. One can't jump at once into the
necessary agility, and the metronome is a great help in bringing one up
to the right pitch. You see by the firmness of these muscles at the back
and thumb side of my hand, that I am in good trim now; but one soon
loses this if one lets up on the routine.
"Then I practise trills of all kinds, and octaves. Yes, I agree that octaves
are a most necessary and important factor in the player's technical
equipment."
Going to the piano and illustrating as he talked, Mr. Schelling
continued:
"Merely flopping the hand up and down, as many do, is of little use--it
does not lead to strength or velocity. As you see, I hold the hand arched
and very firm, and the firmness is in the fingers as well; the hand
makes up and down movements with loose wrist; the result is a full,
bright, crisp tone. One can play these octaves slowly, using weight, or
faster with crisp, staccato touch. I play diatonic or chromatic octave
scales, with four repetitions or more, on each note--using fourth finger
for black keys.
"I sit low at the piano, as I get better results in this way; though it is
somewhat more difficult to obtain them. I confess it is easier to sit high
and bear down on the hands. Yes, I thoroughly approve of 'weight
touch,' and it is the touch I generally use. Sometimes it is a certain
pressure on the key after it is played, using arm weight.
"Ah, you are right. The young teacher or player, in listening to the artist,
and noticing he does not lift his fingers to any extent, and that he
always plays with weight, hastily concludes these are the principles
with which he must begin to study or teach the piano. It is a mistake to
begin in that way. Very exact finger movements must be learned in the
beginning. As I said before, technic is such an individual matter, that
after the first period of foundational training, one who has the desire to
become an artist, must work out things for himself. There should be no
straight-laced methods. Only a few general rules can be laid down, such
as will fit most cases. The player who would rise to any distinction
must work out his own salvation.
"In regard to memorizing piano music, it may be said this can be

accomplished in three ways: namely, with the eye, with the ear, and
with the hand. For example: I take the piece and read it through with
the eye, just as I would read a book. I get familiar with the notes in this
way, and see how they look in print. I learn to know them so well that I
have a mental photograph of them, and if necessary could recall any
special measure or phrase so exactly that I could write it. All this time
my mental ear has been hearing those notes, and is familiar with them.
Then the third stage arrives; I must put all this on the keyboard, my
fingers must have their training; impressions must pass from the mind
to the fingers; then all is complete."

III
ERNESTO CONSOLO
MAKING THE PIANO A MUSICAL INSTRUMENT
In a long conversation with Ernesto Consolo, the eminent pianist and
instructor, many points of vital importance to the player and teacher
were touched upon. Among other things Mr. Consolo said:
"It is absolutely necessary that the piano teacher should take his
profession very seriously. In my opinion there is most excellent
instruction to be secured right here in America, with such teachers as
are willing to take their work seriously. The time is not far away, I
think, when America will enjoy a very prominent position in the matter
of musical instruction, and perhaps lead the world in musical
advantages. The time is not here just yet, but it is surely coming. You
are still young in this country, though you are wonderfully progressive.
"If I have spoken of the serious aims of many teachers of piano, I
cannot say as much for the students: they are often superficial and want
to go too quickly; they are apt to be in a hurry and want to make a show,
without being willing to spend the necessary years on preparation. No
art can be hurried. Students of painting, sculpture, architecture or music
must all learn the technique of their art; they must all learn to go deep