Piano teaching : its principles and problems . of tone or speed. We may desire a climax of rest-fulness or quiet. Thus a gradual retarding and softening of theflow of tone, like that possible at the close of Griegs Berceuse,may waft the hearer from heaven back to earth so gently thathe is left still hearing the voices of the angels. The cultivation of the elements thus far recorded necessitatesin itself attention to the property of symmetry, which is a primerequisite in any complete art form, and which The unifying fac-implies that each detail is given an amount of tor of sy^1*^-attention exac
Piano teaching : its principles and problems . of tone or speed. We may desire a climax of rest-fulness or quiet. Thus a gradual retarding and softening of theflow of tone, like that possible at the close of Griegs Berceuse,may waft the hearer from heaven back to earth so gently thathe is left still hearing the voices of the angels. The cultivation of the elements thus far recorded necessitatesin itself attention to the property of symmetry, which is a primerequisite in any complete art form, and which The unifying fac-implies that each detail is given an amount of tor of sy^1*^-attention exactly in proportion to its value as a component ofthe whole. A great architectural structure, like York Minster, 112 PIANO TEACHING for instance, impresses us not so much with wonder at its vast-ness, as of satisfaction at the perfect relevancy and adjustmentof each of its numberless parts. In a painting, like HobbemasAvenge of Trees, symmetry takes the form of accurate perspec-tive and color values; while in literature, sentences like those of. -^^iillilgiiffitffiiffiflMI York Minster. Lord Macaulay delight the sense of beauty by their sonorous,complete, rhythmic roll. Of course the interpreter can hardlybe called upon to produce a symmetry which is absent from thecomposition he is interpreting; but the player can at least lendhis energies toward a well-adjusted effect by subordinatingunimportant passages and dwelling upon important ones. There are three classes of passages which engage the playersattention,—principal passages, transition passages, and com-^mimmmmm: e,v binations of these. Those of the first class include Passages in music divided into prm- all important themes or melodies, and even strik- cipal, transition, . .. and combination mg reminiscences oi these,— all sections, in fine,passages. which are ends in themselves, which are presented for their intrinsic beauty or significance, and not merely as ameans for reaching some coming point of interest. The fugue
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherbosto, bookyear1910
