. The University course of music study, piano series; a standardized text-work on music for conservatories, colleges, private teachers and schools; a scientific basis for the granting of school credit for music study ... 3 1 ^^m .f?T3 ^f^ 3 3. ae UNIVERSITYCOURSE JUNIOR GRADUATECHAPTER XV XVSCALE PASSAGE PLAYING § 1. Passages based upon scales and arpeggios havebeen frequent in the works of nearly every com-poser for the piano. They do not appear to anygreat extent in Bach, for they are not wel! adaptedto the contrapuntal style which was Bachs nat-ural means of expression, but when instrumenta
. The University course of music study, piano series; a standardized text-work on music for conservatories, colleges, private teachers and schools; a scientific basis for the granting of school credit for music study ... 3 1 ^^m .f?T3 ^f^ 3 3. ae UNIVERSITYCOURSE JUNIOR GRADUATECHAPTER XV XVSCALE PASSAGE PLAYING § 1. Passages based upon scales and arpeggios havebeen frequent in the works of nearly every com-poser for the piano. They do not appear to anygreat extent in Bach, for they are not wel! adaptedto the contrapuntal style which was Bachs nat-ural means of expression, but when instrumentalmusic began to change from the polyphonic to thehomophonic style, technical figures built aroundscales and arpeggios constituted a large part of thepieces written. The facility with which pianomusic could be written using these elements ledto the production of huge quantities of worthlessstuff. Haydn, Mozart, and Beethoven added in-spiration to their scale and arpeggio passages; Hiin-ten, Dussek and Hummel did not. Mendelssohnand Chopin put these technical features back intheir proper places, as means to an end, not theend itself, while Schumann went still further andrelegated them to a very subordinate role. Latercomposers have main
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