Piano and Song | Page 6

diligently; and to
make use of these chords in all sorts of new figures and passages. But
all this must be done without haste, and without tiring the pupil too
much with one thing, or wearing out the interest, which is
all-important.
After that, I teach them to play fifty or sixty little pieces, which I have
written for this purpose. They are short, rhythmically balanced,
agreeable, and striking to the ear, and aim to develop gradually an
increased mechanical skill. I require them to be learned by heart, and
often to be transposed into other keys; in which way the memory,
which is indispensable for piano playing, is unconsciously greatly
increased. They must be learned perfectly and played well, often,
according to the capacity of the pupil, even finely; in strict time
(counting aloud is seldom necessary) and without stumbling or
hesitating; first slowly, then fast, faster, slow again, staccato, legato,
piano, forte, crescendo, diminuendo, &c. This mode of instruction I
find always successful; but I do not put the cart before the horse, and,
without previous technical instruction, begin my piano lessons with the
extremely difficult acquirement of the treble and bass notes. In a word,
I have striven, as a psychologist and thinker, as a man and teacher, for a
many-sided culture. I have also paid great attention to the art of singing,
as a necessary foundation for piano-playing. I have devoted some talent,
and at least an enthusiastic, unwearied love to the subject. I have never
stood still; have learned something of teaching every day, and have
sought always to improve myself; I have always been something new
and different, in every lesson and with every child; I have always kept
up a cheerful, joyous courage, and this has usually kindled the same in

my pupil, because it came from the heart. Moreover, I have never been
a man of routine, have never shown myself a pedant, who is obliged to
hold fast to certain ideas and views.
I have lived up to the century, and have tried to understand and to
advance the age; have heard every thing great and fine in music, and
have induced my pupils also to hear it. I have opposed with
determination all the prejudices and false tendencies of the times, and
never have allowed impatient parents to give advice about my lessons. I
have insisted upon a good and well-tuned instrument for my pupils, and
have endeavored to merit the love and confidence both of my pupils
and of their parents. In fact, I have devoted myself thoroughly to my
calling, and have been wholly a teacher, always fixing my eye on the
true, the beautiful, and the artistic; and in this way have been of service
to my pupils.
FRIEND. But how do you find parents who sympathize with your ideas
and with your lofty views?
DOMINIE. I have found that almost all the parents of my pupils have
entered into my views, if not immediately, at least after they had been
present at a few lessons. In the case of those few who would not enter
into them, I have abandoned the lessons; but, nevertheless, I have found
that my time has been fully occupied. My friend, do you not think that
views like these will assist in the training of young and inexperienced
teachers, who are striving for improvement? and do you not think they
will be useful even to those who already possess general mental culture,
and who are animated by an ardent love for their calling? I especially
avoid giving here any exclusive method, a servile following of which
would be entirely contrary to my intentions, and, in fact, contrary to my
method.
But as for the rest! Alas, all those who do not understand me, or who
choose to misunderstand me, those are the worst!--especially the
ill-natured people, the classical people who bray about music, stride
straight to the notes, and have no patience till they come to Beethoven;
who foolishly prate and fume about my unclassical management, but at
bottom only wish to conceal their own unskilfulness, their want of

culture and of disinterestedness, or to excuse their habitual drudgery.
Lazy people without talent I cannot undertake to inspirit, to teach, and
to cultivate.
This chapter will, almost by itself, point out to unprejudiced minds my
method of giving more advanced instruction, and will show in what
spirit I have educated my own daughters, even to the highest point of
musical culture, without using the slightest severity. It will, indeed,
cause great vexation to the ill-minded and even to the polite world, who
attribute the musical position of my daughters in the artistic world to a
tyranny used by me, to immoderate and unheard-of "practising," and to
tortures of every kind; and who do