1

Model of a Scale of Practice,

A regular adherence to which, will, without fatigue and without injustice to other studies, constitute a

BRILLIANT PIANISTE.

FIRST YEAR.

Kalkbrenner's or Herz's Method, commencing

with the Exercises of five notes, to be studied half an hour. daily

Cramer's Instruction Book

one hour.

This early stage of study involves one of the most important features in the whole series. It is now that the TOUCH is formed by the daily practice of the five notes from C. to G. Nor must this be considered as a mere exercise productive of no other result than certain degrees of rapidity: on the contrary, it is intended to produce a perfect degree of equality and freedom in the mechanism of the fingers.

To effect this object great care must be taken that no two fingers remain on the keys at the same time. After the first note is played, as soon as every succeeding finger touches the key, the one last used should rise up with an easy elastic

movement.

Perfect equality of touch being thus attained, the next difficulty to overcome is the passing of the thumb under the fingers, and of the fingers over the thumb; without an inequality of tone, or any apparent movement of the hand.

察

SECOND YEAR.

Kalkbrenner's or Herz's Method,

including the Classification of three quarters of an hour.

Scales

Cramer's Sequel to the Instruction

Book

three quarters of an hour.

The finger exercises should now include, for daily practice, that section in which one or two notes are sustained whilst others are in motion.

During the first and second year, some very easy duets should be introduced for drawing-room practice, by way of encouragement to the children and gratification to the parents. Some by Clarke, Keller, &c., are very suitable for the first year, particularly where the hands are small; some by Czerny, Burgmüller and Hünten may be selected for the second year, but in the choice of music for small hands, considerable judgment must be exercised, as, beyond a certain grasp, the little hand can neither retain its position, nor perform the passage successfully.

The finger exercises should now include that section in which the practice of the shake is prepared, whilst the other three notes are sustained.

The object of this exercise is to render every finger equally flexible, by which means alone a brilliant shake can be produced. The fingers, when subsequently released from the sustained notes will be found to have acquired extraordinary strength and freedom.

Each hand should be studied separately, in order that any weakness which may exist in one hand may not be disguised from observation by the greater strength of the other.

Works in the Classical School of Dussek and Mozart should now be introduced; and some lighter pieces for recreative practice may be selected from the numerous pleasing compositions of Burgmüller and Hünten.

The chromatic scale will long ere this have been practised with the other scales, but it should now occupy the particular attention of the pupil.

Professors are divided in their opinion as to whether the first or the second finger should be placed on the black keys -the majority, particularly of the new school, are in favour of the latter. I think it advisable, however, that both should be practised, as in leggiero passages the first finger is certainly preferable, whereas in strongly marked and in Crescendo chromatics, the second finger having more power, claims a decided preference. Thus each being desirable for particular passages, they should have an equal share of attention.

At this period of study, some of Beethoven's Sonatas, together with a selection from Weber's compositions, including his "Invitation to the Valse" and his several variazioni, will be of much practical utility.

Major and Minor scales in thirds, sixths and tenths, which will hitherto have been but partially, practised, should now be made the objects of daily and regular study.

The fingering of the scales being well understood, the attention must be directed to the clear and simultaneous ensemble of each hand, so that every note may be clearly defined and struck with perfect regularity. Without the strictest attention to this point, the practice of the scales in thirds, sixths, and tenths is idle and useless.

Compositions in the School of Herz, Czerny, Döhler and Schulhoff should now be practised for lightness and brilliancy of finger. A suggestion previously offered may now be repeated, viz., that the studies and exercises should contain every new difficulty; there to be overcome, before it is introduced in the Morceau de Salon.