Piano and Song | Page 2

the principles which they have received from me.
This is not the first time that I have appeared as an author. The "Signale
für die musikalische Welt," as well as the "Neue Zeitschrift für Musik,"
have published numerous essays from my pen under various titles. The
approval which they met with, at the time of their appearance, has
induced me to undertake this larger work. Several of those earlier
writings are included in this book, but in a partially altered form. The
frequently recurring character, the teacher Dominie, originated with
these essays; I need hardly say that he represents my humble self.
Those who are otherwise unacquainted with me will through him
understand my character, and will moreover see that a man of such
caustic brevity can be, by no means, a master of polished style. May
this last acknowledgment appease all those critics whose hair is made
to stand on end by my inelegant mode of writing. I will make no further
apology for my style. I have often availed myself of the dialogue form,
because it was conducive to brevity; not less frequently I have made
use of the form of the epistle and of personal discourse, as being more
congenial to my individual manner than that of a serious treatise. I have
also undertaken to say something about singing! A piano-teacher, if he
is possessed of mind and talent, as I suppose him to be, whether he
teaches the elements or occupies himself with more advanced
instruction, should understand the art of singing; he, at least, should
show a warm interest in it, and should have an earnest love for it. When
I speak in general of singing, I refer to that species of singing which is
a form of beauty, and which is the foundation for the most refined and
most perfect interpretation of music; and, above all things, I consider

the culture of beautiful tones the basis for the finest possible touch
upon the piano. In many respects, the piano and singing should explain
and supplement each other. They should mutually assist in expressing
the sublime and the noble, in forms of unclouded beauty. My book will
make this evident to many; but whether it will succeed with all, I doubt.
Not a few will even be found who will lay aside my book with
contempt, and who will scorn the zeal of the "man of the past age." I
am quite prepared for this: it is the fashion at present to undervalue the
old times and their defenders; but I shall continue to be conservative,
until the "men of the future" shall be able to show me results which
shall excel those of the past, or at least shall equal them.
And now I commend my little book to the public, trusting that it will
instruct the willing, correct the erring, incite the indolent, and chastise
those who wilfully persist in the wrong.
THE AUTHOR.

CONTENTS.
CHAP.
I. ON ELEMENTARY PIANO-FORTE INSTRUCTION
II. AN EVENING ENTERTAINMENT AT HERR ZACH'S
III. MANY STUDENTS OF THE PIANO AND FEW PLAYERS
IV. A CONVERSATION WITH MRS. SOLID, AND FOUR
LESSONS TO HER DAUGHTER
V. ON THE PEDAL
VI. THE SOFT-PEDAL SENTIMENT
VII. A MUSICAL TEA-PARTY AT THE HOUSE OF JOHN
SPRIGGINS

VIII. SINGING AND SINGING-TEACHERS
IX. THOUGHTS ON SINGING
X. VISIT AT MRS. N.'S
XI. SECRETS
XII. THOUGHTS ON PIANO-PLAYING
XIII. ON MUSICAL TALENT
XIV. EXTRAVAGANCES IN SINGING AND PIANO-PLAYING
XV. CONCLUSION

PIANO AND SONG.

CHAPTER I.
ON ELEMENTARY PIANO-FORTE INSTRUCTION.
You ask, my dear friend, for some particular information about my
piano method, especially with regard to my mode of elementary
instruction, which differs essentially from that in common use.
I give you here the main points; and, if you place confidence in my
experience of forty years, and if you will supply those details which I
have omitted, your own varied experience as a thoughtful, talented, and
earnest piano-teacher will enable you to understand my theory, from
the following dialogue between my humble self under the title of
Dominie, my friend, and the little Bessie:--
DOMINIE. My dear friend, how have you managed to make
piano-playing so utterly distasteful to little Susie? and how is it that the

instruction which you have given her for the last three years actually
amounts to nothing?
FRIEND. Well, I will tell you how I have proceeded. First I taught her
the names of the keys, that was pretty dull work for her; then I made
her learn the treble notes, which was a difficult matter; after that I
taught her the bass notes, which puzzled her still more; then I
undertook to teach her a pretty little piece, which she hoped to perform
for the delight of her parents. Of course she constantly confused the
bass and treble