Piano teaching : its principles and problems . s has two subdivisions in sense, one answering the other,but in actual performance the two are united into a continuousthought. So, while the pupil should understand the smallerdivisions, he should be taught to group these into broad phrases,each expressive of a complete musical conception. The accentuation employed in such a phrase will depend uponthe meter and the points of special stress. The metric accentswill generally be assisted by the accompaniment, use of accents inand will not therefore receive special attention, the Iong Phrase-except w
Piano teaching : its principles and problems . s has two subdivisions in sense, one answering the other,but in actual performance the two are united into a continuousthought. So, while the pupil should understand the smallerdivisions, he should be taught to group these into broad phrases,each expressive of a complete musical conception. The accentuation employed in such a phrase will depend uponthe meter and the points of special stress. The metric accentswill generally be assisted by the accompaniment, use of accents inand will not therefore receive special attention, the Iong Phrase-except where they are coincident with the stress-notes. Theselatter, however, must be considered carefully, as upon them 96 PIANO TEACHING depends the whole force of the phrases. Normally, the phrase,beginning lightly, works gradually up, sometimes through sev-eral minor points of emphasis, to the final climax-note, whichoccurs near the end, after which the downward cadence imme-diately follows, as in the theme of Beethovens Sonata, Op. 26: Beethoven. It is sometimes difficult to determine whether the highest noteor a note which has a stronger metrical accent is the climax-note of the phrase. In such a case a stress is frequently placedon this highest note, and a stronger one upon the metricalclimax, as in this example from Beethoven, Op. 49, No. 2: Beethoven cN-a fT ^» -m — 5-p- p $ r \tff%fA t=-=£==i The preceding example illustrates the necessity for makingprominent the note next before the last in a phrase ending in adownward inflection. Remember that if a singlenote is struck a number of times with equal force,the final impact invariably has the effect of an Treatment of thefinal note of aphrase. accent, thus m r r r m You can easily prove this by trying the experiment. Hence, in order to renderthe last note of a phrase really light and unobtrusive, it is nec-essary to accent slightly the note before it, thus neutralizing the
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