Real Meaning of Speed Terms, The 60
Relation of Harmony to Piano Playing, The 105
Rests Used under or over Notes 62
Results Count, Not the Methods, The 6
Rolled Chord Marked "Secco," A 70
Rubinstein or Liszt--Which is the Greater? 158
Rule for Selecting the Speed, A 60
Safe Way of Stretching the Small Hand, A 13
Sensible Scheme of Playing for Pleasure, A 161
Sex of the Piano Teacher, The 143
Should Piano Students Try to Compose? 108
Slurs and Accents Not Related 63
Small Notes under Large Ones 70
Some Pieces for a Girl of Fourteen 75
Speed and Smoothness in Trilling 73
Staffs are Independent of Each Other, The 66
Starting a Child's Musical Training 138
Stiff Wrists in Playing Octaves 33
Student Who Cannot Play Fast Music, The 151
Student Who Wants to Compose, The 108
Student with a Fondness for the Pedal, The 42
Study of Mendelssohn, The 85
Study of Operatic Transcriptions, The 91
Study of the Scales, The 51
Study of the Scales is very Important, The 50
Studying Counterpoint by One's Self 107
Take a Month's Rest Every Year 56
Taking Liberties With the Tempo 89
"Tenuto" Dash and Its Effect, The 69
Text-books on Harmony 106
There Are Dangers in Using a Metronome 59
There Is Only One Minor Scale 109
Tied Staccato Notes 69
Tilt of the Hand in Playing Scales, The 6
Time to Devote to Technical Exercises 47
To Gain Facility in Sight-Reading 117
To Keep Errors from Creeping in 116
To Play a Glissando Passage 29
To Prevent Sore Finger-tips After Playing 20
To Produce a Softer Tone 43
To Produce Good Legato 23
To Strengthen the Weak Finger, Use It 18
To Work up a Fast Tempo 53
Too Much "Method" 144
Trill Begins on the Melodic Note, A 72
Twenty-five Not Too Late to Begin 139
Two Hands Playing Difficult Rhythms, The 97
Universal System of Marking Fingering, The 27
Use of the Pedal for Colouring, The 39
Use Pedal With Caution In Playing Bach 41
Using the Two Pedals at Once 48
Value of Clementi's "Gradus" To-day, The 95
Value and Correct Practice of Phrasing, The 98
Value of Going to Concerts, The 153
Value of Heller's Studies, The 93
Watch Your Breathing 55
Weak Fingers of the Left Hand, The 18
Well-Tempered Piano Scale, The 137
What a Dot May Mean 77
What a Double Dot Means 62
What Does "Technique" Mean? 3
What Is the Best of Chopin? 86
What Is the Difference Between the Major and
Minor Scales? 110
"What Is the Matter with My Scales?" 14
What the Leschetizky Method Is 144
What the Object of Study Should Be 135
What to Do with an Unemployed Hand 21
When an Accidental Is in Parentheses 66
When Playing Octaves 31
When Reading Over a New Piece 51
When the Fingers Seem Weak 18
When to Keep Away from the Piano 132
When to Play for People 120
When Tremolo Proves Unduly Fatiguing 11
When Two Fingers Have the Same Note 79
Where Outside Criticism Is Desirable 143
Where the Accent Should Be Placed 78
Which Fingers Demand Most Attention? 16
Which Should Come First--Conception or
Technique? 103
Why Rag-time Is Injurious 134
Why So Many Different Keys? 105
Why the Pianist Should Study Harmony 104
Why the Piano Is So Popular 128
Why Two Names for the "Same" Key? 67
"Wonder Children" as Pianists 152
Wrist Staccato at a High Tempo 21
Wrist Stroke In Long Octave Passages 32
INDEX
A flat, key of, 67.
Impromptu in, 78, 87.
Chopin's Ballade in, 162.
A sharp, key of, 67.
difference between, and B flat, 137.
Accent, where the, should be placed, 78.
Accenting a mordent, 70.
Accents, slurs and, not related, 68.
Accidental, how long an, affects a note, 64.
when an, is in parentheses, 66.
Accompaniment, 118.
Accompaniments, in left-hand waltz, 17.
Accompanist, 118, 119, 164.
Accompanying, at sight, 117.
a soloist, 118.
the art of, 118.
Action, of the wrist, 9.
of the arm, 11.
of the little finger, 17.
a piano extreme in, 36.
how tight to keep the piano's, 37.
of a beginner's piano, 37.
a too heavy, 38.
too light an, 38.
Adagio, 60.
Advantage, of legato over staccato, 22.
of universal fingering, 27.
Affected movements at the piano, 126.
Age, and physical development of the beginner, 138, 139.
Age of the student, immaterial, 139.
Aid, books that, the student working alone, 155.
Allegretto grazioso, 77.
Allegro, 60.
America, can music be studied in, 148.
"American" fingering, 27.
Andante, 60.
Appassionata, the last movement of the, 76.
Appoggiatura, 72.
Arm, action of the, 11.
play chords with a loose, 11.
Arms, premature fatigue in the, 33.
Arpeggio, 3, 9.
Art, of accompanying, the, 118.
the canons of, 125.
Attention, which fingers demand most, 16.
Auber, 136.
Auxiliary, position of, note in a trill, 72.
Average, speed, 59.
tempo, 60.
Avocation, music as a profession or as an, 156.
B flat minor, Chopin's Prelude in, 95.
B sharp, 64, 65.
Bach, use pedal with caution in playing, 41.
the beginner in, music, 80.
in touch with, 81.
Bach, Philipp Emanuel, 88.
Bach's, music, 80, 81.
preludes, 67, 82.
fugues, 67, 82, 83.
Bad music, 183.
Baermann, Carl, 94.
Ballade, Chopin's, in A flat, 102.
Baltzell, "History of Music," by, 150.
Barcarolle, Chopin's, 88.
Beethoven, the sonatas of, 83, 85.
Beethoven's Sonatina, opus 49, 59.
Fifth Symphony, 69.
Sonata Pathetique, 70.
"Moonlight Sonata," 76.
sonatas, 83.
order of studying, sonatas, 83.
Sonata, opus 28, 84.
style, 85.
first and last sonatas, 90.
Beginner's, the action of a, piano, 37.
Bendel's "Zephyr," 53.
Berceuse, Chopin's, opus 57, 86.
Berens, 95, 143.
Berlin, 118.
Berlioz, 91, 136.
Best, how to play the octaves, 29.
morning is the, time to
practise, 46.
way to work up a quick tempo, 54.
what is the, of Chopin, 86.
the, book of instruction for a beginner, 93.
the, way to improve sight-reading, 117.
the, piano hand, 130.
the, physical exercise for the pianist, 131.
nothing but the, will do, 141.
Biting the finger-nails, 19.
Blumenstuck, Schumann's, 79.
"Blurring," 23.
Body, general position of the, 4.
Books, of Etudes, 93, 94.
that aid the student working alone, 155.
Brahms, 162.
Breathing, 55.
Broad-tipped fingers, 20.
Bulow, 17.
Buessler, 106.
C flat, 67.
C sharp, key of, 67.
C sharp major, Bach's fugue in, 83.
C sharp minor movement, the, 58.
Cantabile passages, 7.
Cantata, 112.
Chaminade, Toccata by, 111.
Chaminade's "Air de Ballet," No. 1, 70.
Chopin, Polonaise, opus 53, 74.
a disputed, reading, 78.
Life of, 86.
the best of, 86.
Etude by, 94.
Etudes in C minor, 95.
Chopin's works, 23, 79.
Prelude, No. 15, 58.
Valse, opus 42, 61.
Polonaise, opus 58, 74.
Polonaise, opus 26, No. 1, 77.
Nocturne in F sharp, 78.
Impromptu in A flat, opus 29, 78, 87.
charm of, touch, 86.
Chants Polonais, 88.
Fantasy Impromptu, 88, 97.
Barcarolle, 88.
Nocturne, opus 27, No. 2, 88, 162.
Chopin's works for a popular concert, 88.
Ballade in A flat, 162.
Chord, rolled, marked "secco," 70.
in the Waltz in E minor, 89.
Chords, play, with a loose arm, 11.
Chromatic,
the, scale 28.
thirds, 35.
accidental, signs, 66, 67.
Classics, "modified," 148.
Clementi, 81.
Clementi's "Gradus ad Parnassum," 95.
Sonatina, opus 37, 96.
"Colour," of various keys, 137.
Colouring, 39, 44, 137.
Composer, piano-study for, 128.
as to one, 160.
Composers, the greatest, as pianists, 91.
Composition, 108, 130.
Conception, difference between, and rubato, 102.
Conceptions, different, 102.
Concert, Chopin's works for a popular, 88.
etudes, 94.
work, 156.
career, 162.
Concerto, the Grieg, 35.
Concerts, the value of going to, 153.
Conservatory, individual teacher or, 142.
Conductor, piano-study for, 128.
Correct practice of phrasing, 98.
Counterpoint, studying, 107, 142.
Cramer Etudes, the, 17, 45.
C-scale fingering, 28.
Counterpoint, studying, by one's self, 107.
Counting, 50.
Course, proper, for a little girl, 146.
Criticism, where outside, is desirable, 143.
Curved fingers, 6, 7.
Czerny, 45, 81.
D flat, key of, 67.
arrangement of Bach's Fugues, 83.
Damper pedal, the, 43.
Dance, music, 134.
Liszt's, of the Gnomes, 58.
Dangers in using a metronome, 59.
Dash, "tenuto," and its effect, 69.
Diatonic, thirds, 35.
sequel, 73.
Different, conceptions, 102.
rhythms, 97.
keys, 105.
Difference, between "finger staccato" and other kinds, 22.
in playing trills, 74.
between conception and rubato, 102.
between major and minor scales, 109.
Difficulty of playing repetition notes, 34.
Doppio movement, in Chopin's Nocturne in F sharp, 78.
Dot, double, 62.
what a, may mean, 77.
Double notes, 35.
thirds, 35.
dot, 62.
flat, 64, 65.
flats, 65.
sharp, 65.
Dumb piano, playing on a 38.
Duple time, 96, 98.
E minor, Waltz in, 89.
E sharp, 64.
Ear, let your, guide your pedalling, 41.
Easiest way to memorize, 113.
Edition, Peters's, of Chopin, 79.
Edition, Steingraeber, of Beethoven, 84.
Education, general musical, 141.
Element, personal, and the metronome, 58.
"English" fingering, 27.
Erlking, Liszt arrangement of the, 32.
Errors, to keep, from creeping in, 116.
Ethical, 135.
Etudes, Cramer, 17, 45.
octave, 30.
for advanced players, 94.
good intermediate books of, 94.
by Ruthardt, 94.
twelve, for technique and expression, 94.
concert, 94.
by Baermann, 94.
of Chopin, 95.
by Kessler, 95.
by Berens, 95, 143.
by Heller, 143.
Sternberg's, 155.
Example, force of, 104.
Exercise, best physical, 131.
Exercises, stretching, 12, 13.
technical, 47.
for the beginner, 93.
good finger, 93.
F, Melody in, 79.
F minor, Chopin's Ballades in, 86.
F sharp, key of, 67.
Chopin's Nocturne in, 78.
Fantastic Fairy Tales, 92.
Fantasy Impromptu, Chopin's, 88, 97.
Fatigue, premature, in the arms, 33.
Faulty touch, 8, 43.
Fifth Symphony, Beethoven's, 69.
Finger, the middle, 16.
technique, 16.
the little, 17.
the weak, 18.
touch, 19.
staccato, 22.
exercises, 93.
Fingering, English, 27.
universal, 27.
American, 27.
the chromatic scale, 28.
C-scale, 28.
Finger-nails, biting the, 19.
Fingers, position of, 6.
the other, 16.
fourth and fifth, 16.
weak, 18.
broad-tipped, 20.
needed to play a mordent, 28.
Finger-stroke, high, 7, 23, 24.
Finger-tips, sore, 20.
"wiping" the keys with the, 35.
Firm legato touch, 24.
Flat, double, 65.
Flats, double, 65.
Fugue, definition of a, 82.
Fugues, Bach's, 82.
G flat, key of, 67.
G minor,
Chopin's Ballade in, 86.
Brahms's Rhapsody in, 162.
Gavotte in A, the, 44.
General, technique, 3.
rule about the pedal, 39.
musical education, 141.
Glissando, the, 29.
to play a, passage, 29.
Gluck-Brahms, 44.
Godowsky, transcriptions by, 23.
Godowsky's pupils, 149.
Going to concerts, value of, 158.
Grace notes, 61.
"Gradus ad Parnassum," Clementi's, 95.
Grieg Concerto, the, 35.
Halevy, 136.
Hand, position of, 6.
stretching the, 12.
small, 13.
unemployed, the, 21.
genuine piano, 130.
Hands, two at once, 25.
playing with cold, 49.
Harmonic, clarity, 41.
turns, 105.
Harmony, study of, 104.
relation of, to piano-playing, 105.
textbooks on, 106.
Haydn, 75.
Heller, etudes by, 143.
Heller's studies, value of, 93.
opus 154, 94.
"History of Music," 150.
Importance of the right teacher, 140.
Impromptu, Chopin's, in A flat, 78.
Chopin's Fantasy, opus 66, 88, 97.
Instrument, the, 35.
Intermediate, good, books of etudes, 94.
International piano pitch, 136.
International pitch, 136.
Key, two names for the same, 67.
Keys, why so many different, 105.
"colour" of various, 187.
Kuhlau Sonatinas, 75.
Kullak's, Octave School, 31.
"Method of Octaves," 34.
Learning, to modulate, 107.
to accompany at sight, 117.
the art of accompanying, 118.
Legato, 22, 23.
advantage of, 22.
touch, 24.
meaning of, 24.
Leschetizky method, the, 144.
Lessons, teachers, and methods, 140.
number of, depends on progress, 147.
frequent, and shorter, 147.
Liadow, "Music Box" by, 92.
"Life of Chopin," the, 86.
"Limping," 25.
Liszt, 130, 158.
Liszt's, Dance of the Gnomes, 58.
transcription of Chants Polonais, 88.
Little finger, action of the, 17.
Loud counting, 50.
MacDowell, Sonatas, 162.
Major, difference between, and minor scales, 109, 110.
Marking a rest, in, 99.
Marks and Nomenclature, 57.
Mason's "Touch and Technique", 155.
Masters cannot be studied in order, 90.
Mazurka, 111.
Mazurkas, Chopin's, 86.
Melody in F, the, 79.
Memorize, easiest way to, 113.
in order to, easily, 115.
Memory, playing from, 112.
the, 112.
Mendelssohn, the study of, 85.
Mendelssohn's "Spring Song," 77.
Menuet, 111.
Method, too much, 144.
Leschetizky, 144.
Methods, teachers, lessons and, 140.
Metronome, markings, 57, 59.
personal element and the, 58.
dangers in using a, 59.
Meyerbeer, 136.
Minor, difference between major and, scales, 109.
only one, scale, 109.
Miscellaneous questions, 150.
"Modified Classics," 148.
Modulate, learning to, 107.
Mood and tempo in the A flat Impromptu, 87.
"Moonlight Sonata," the, 76.
Mordent, fingers needed to play a, 28.
accenting a, in a sonata, 70.
Morning practice on the piano, 45.
Moscheles, Etudes by, 94.
Motif, meaning and use of, 68.
"Moto perpetuo," 112.
Mozart, 46, 75.
Mozart's art, 160.
Music, the beginner in Bach, 80.
modern piano, 92.
bad, 133.
the company that one keeps in, 133.
can, be studied in America, 148.
how to get, published, 150.
as a profession, 156.
how much you can get from, 157.
"Music Box," the, 92.
Music schools and private teachers, 141.
Nocturne, Chopin's, in F sharp, 78.
opus 27, No. 2, 88, 162.
Nocturnes, Chopin's, 86.
Nomenclature, marks and, 57.
Note, auxiliary, 72.
when two fingers have the same, 79.
Notes repetition, 34.
double, 35.
slurred, 62.
tied staccato, 69.
small, under large ones, 70.
syncopated, 71.
Object of study, 135.
Octave, chords, 11.
Kullak's, School, 31.
in extended, playing, 32.
passages, 32.
Octaves, 29.
rapid, 30.
when playing, 31.
wrist, 31, 32.
arm, 31.
stiff wrists in playing, 33.
Operatic transcriptions, 91.
Order of studying Beethoven's Sonatas, 83.
Other fingers, the, 16.
Organ, touch, 26.
playing, 26.
Pachulski, 92.
Pedal, a general rule about the, 39.
how to use the, 39.
use of the, for colouring, 39.
use, with caution in playing Bach, 41.
the "soft," 43, 44.
a constant use of the soft, 45.
Pedalling, let your ear guide your, 41.
Pedals, the, 39.
using the two, at once, 43.
"Perpetuum Mobile," Weber's, 112.
Peters's Edition, 79, 82.
Phrasing, value and correct practice of, 98.
Physical exercise, best, for the pianist, 131.
Pianists, the greatest composers as, 91.
"wonder-children" as, 152.
_Pianissimo_ touch, the, 44.
Piano, height of the, seat, 5.
touch, 26.
kind of, upon which to practise, 35.
extreme in action, 36.
action of a beginner's, 37.
playing on a dumb, 38.
affected movements at the, 126.
about the, per se, 127.
genuine, hand, 130.
when to keep away from the, 132.
"Piano Playing," 35.
"Pischna," exercises of, 93, 161.
Pitch, international, 136.
Pitch and kindred matters, 136.
international piano, 136.
Play for people, when to, 120.
Playing for pleasure, 161.
Polonaise, Chopin, opus 53, 74.
Chopin, opus 26, No. 1, 77.
Polonaises, Chopin's, 86.
Polyrhythms, 96.
Popular concert, Chopin's works for a, 88.
Position, of the body, 4.
of the hand, 6.
of the fingers, 6, 8.
of the wrist, 10.
of the thumb, 16.
of the turn over a note, 71.
of auxiliary note in a trill, 72.
Practice, morning, on the piano, 45.
the only kind of, worth while, 47.
of phrasing, 98.
of constructing, 108.
Practise, kind of a piano upon which to, 35.
exercises for the beginner to, 93.
Practising, eight hours instead of four, 48.
the two parts separately, 52.
Precision, 25.
Prelude, the B flat minor, 95.
in C sharp minor, 162
Preludes, Bach's, 82.
Chopin's, 86.
Private teachers, 141.
Profession, music as a, 156.
Rachmaninoff's Prelude in C sharp minor, 162.
Rag-time, why, is injurious, 134.
Repetition, technique, 34.
notes, 34.
Rests used under or over notes, 62.
Rhapsody, Brahms's, in G minor, 162.
Rhythm, accents relate to, 62.
playing in, 151.
Richter, E. F., 106.
Romanza, Schumann's, 162.
Rossini, 136.
Rubato, as to playing, 100.
passages marked, 100.
difference between conception and, 102.
Rubinstein, 158.
Rubinstein's "Melody in F," 79.
Russian piano music, 53.
Ruthardt, "Etudes" by, 94.
Scale, fingering the chromatic, 28.
only one minor, 109.
the well-tempered piano, 137.
Scale playing, in, 16.
Scales, tilt of the hand in playing the, 6.
the practising of, 14, 51.
the study of the, 50, 51.
Scherzo, Chopin's, opus 31, 88.
Schubert-Liszt's "Auf dem Wasser zu singern," 53.
Schumann's "Blumenstuck," 79.
Romanza, opus 28, No. 2, 162.
"Traumerei," 162.
"Secco," a rolled chord marked, 70.
Seeling, Hans, 94.
Sex of the teacher, 143.
Sight-reading, 117.
Slur, how a tie and a, differ, 63.
Slurred notes, the playing of, 62.
Slurs, 63.
Smith's Octave Studies, 143.
Solfeggio, meaning of, 74.
Soloist, 118, 164.
Sonata, accenting a mordent in a, 70.
in playing a, 75.
Moonlight, 76.
Beethoven, with a pastoral character, 84.
meaning of, 112.
Sonatina, Beethoven's, 59.
Sonatas of Beethoven, the, 83, 85.
"Songs without Words," Mendelssohn's, 86, 162.
Speed, gradual increase of, 54.
average, 59.
meaning of, terms, 60.
rule for selecting the, 60.
and smoothness in trilling, 73.
"Spring Song," the, 77.
Staccato, wrist, at a high tempo, 21.
finger, 22.
arm, 22.
Staffs, the, 66.
Starting, about, on a concert career, 162.
Steingraeber Edition of Beethoven's Sonatas, 84.
Sternberg's Etudes, opus 66, 155.
Stretching, 12, 13.
Student, age of, immaterial, 139.
books that aid the, working alone, 155.
Students, piano, 108.
Studies, Heller's, 93.
Study, object of, 135.
Studying, importance of, with the right teacher, 140.
Syncopated notes, 71.
System, universal, of fingering, 27.
Teachers, lessons, and methods, 140.
Technical, exercises, 47.
work, 18, 45, 46.
studies, 46.
results, 48.
Technique, a generic term, 3.
how to improve the, 4.
a precise finger, 16.
of the fingers, 22.
repetition, 34.
a "musical," 38.
Tempo, wrist staccato at a high, 21.
to work up a fast, 53, 54.
average, 60.
in the A flat Impromptu, 87.
taking liberties with the, 89.
rubato, 100, 101.
"Tenuto" dash, the, 69.
Textbooks on harmony, 106.
Thalberg, 91, 92.
Theory, 104.
Thirds, double, 35.
diatonic, 35.
chromatic, 35.
Thomas, Ambroise, 136.
Thumb, the, 14.
how to hold the, 16.
Tie, a, 63.
Time, duple, against triple, 96, 98.
playing in, 151.
Toccata, meaning of, 111.
Touch, faulty, 8, 43.
finger, 19, 50.
biting the finger-nails spoils the, 19.
legato, 24, 63.
crisp legato, 24.
piano, 26.
organ, 26.
repetition, 34.
charm of Chopin's, 86.
and Technique, 155.
Training, a child's musical, 138.
Transcriptions, study of operatic, 91.
Transposing at sight, 119.
Tremolo, 11.
Trill, position of auxiliary note in a, 72.
Trills, on the melodic note, 72.
extended, 72.
difference in playing, 74.
Triple time, 96, 98.
"Twelve Etudes for Technique and Expression," 94.
Universal system of marking fingering, 27.
Valse, Chopin's, opus 42, 61.
opus 64, No. 2, 88.
Waltz, a chord in the, in E minor, 89.
Waltzes, Chopin's, 86.
Weak fingers, 18.
Weber's "Storm," 41.
pianos of, time, 41.
"Perpetuum Mobile," 112.
"Wonder-children" as pianists, 152.
Wrist, action of the, 9.
the loose, 9.
position of the, 10.
stiffness in the, 10.
octaves, 31, 32.
stroke in long octave passages, 32.
* * * * *
Transcriber's note:
Punctuation has been made consistent.
Other changes:
Page iv and Index--'POLYRYTHMS' changed to 'POLYRHYTHMS.'
Page xi--'As a matter _or_ course' changed to 'As a matter _of_ course.'
Page 12--'I stretch _beween_ my fingers' changed to 'I stretch
_between_ my fingers.'
Page 43--'expresson' changed to 'expression.'
Page 47--'_ti_ would take considerable time' changed to '_it_ would take
considerable time.'
Page 50--'rhymthic' changed to 'rhythmic.'
Page 78--'Doggio' changed to 'Doppio.'
Page 93--'_or_ which one is abridged' changed to '_of_ which one is
abridged.'
Page 123--'feel _they that_ do not care for my playing' changed to 'feel
_that they_ do not care for my playing.'
Page 140--'be be' changed to 'be.'
Page 158--'Rubenstein' changed to 'Rubinstein.'
Index--'F major, key of, [no page #]' removed.
Index--'Gradus and Parnassum' corrected to 'Gradus ad Parnassum.'
Index--'Hadyn' corrected to 'Haydn.'