Piano teaching : its principles and problems . st 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
Piano teaching : its principles and problems . st 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 PIANO TEACHING 113 subject, enunciated with a distinctness and character destinedto impress it indelibly upon the auditors mind; the sonatathemes, contrasting with each other in dramatic and lyricquality; the song theme, soulful in the utterance of each syllableand rising to a climax of intensity, — all are included in the. Hobbema, Avenue of Trees.—National Gallery, London. class of passages which should hold the hearer spell-bound, andwhich he should leave with reluctance. Introducing, connect-ing, and postluding such are the transition sections, sometimesmere groups of flitting notes and harmonies, during the per-formance of which the hearer must be kept on the qui vive fora sight of the new fields toward which he is being transportedor else must be soothed into restfulness after a strenuous dra-matic climax. The playing of these must consequently bearthe interest constantly forward. Instead of lingering over indi-vidual charms, the performer should use every device to prodthe interest: bits of the coming theme should be emphasized;the rhythm should stalk on unfalteringly; and only when thegoal is apparently in sight should the auditor be tantalized by aretardation in the time, a hesitation before the curtain is the combination passages a slight
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Keywords: ., bookcentury1900, bookdecade1910, bookpublisherbosto, bookyear1910
