than two lines at a time. The five finger exercise should be the first
practice, the scales the second. Children going to school should, if
possible, practice at least half an hour before school and ought to come
out when they do not lose a recitation and practice during school hours.
If a child comes home tired from school they need the fresh air and
relaxation from study. Practice after a day's work is never so benefi-
cial as when carried on with the work. Remember that music is a part
of the child's education, and if the child is expected to become profi-
cient, it is quite as long a study as reading, writing and arithmetic.
Do not allow a child or beginner to play pieces for the first two or
three terms at least. Wait till their fingers acquire that degree of
fluency as to allow them to play quietly and easily. Be sure that the
pupil counts aloud, never to themselves, and be sure that the practice is
always counted. Practice counting with a clock till you can count as
even as the clock, although you may count faster or slower, but always
even ; make the playing come to the counting, but never the counting
to the playing, and be sure that the pupil plays slow. Almost all pupils
play too fast. They blunder constantly, forgetting their time and the
various marks of expression to be observed. Practice slow, that every
measure may be in the same time from first to last ; the fast will come
itself after you are perfect in all other things.
Expression in music is too much neglected. A pupil commences a
piece and thumps through to the end in about the same strain. Look
over the piece, observe every little mark, be it ever so small. See that
you pay particular attention to accent. We have words in music as
well as reading. You would laugh to hear one read with the accent or
emphasis on the wrong syllable, yet it is very often the case in music.
Accent means to strike louder on one note than another. When count-
ing two or three, in the measure, accent the first count only. When
counting four, one and three are accented ; six, one and four. Triplets
are always accented on the first note of each triplet. The question is
often asked, when shall a child begin. If you have the right kind of a
teacher, as soon as a child can reach six keys is not too young. About
fifteen minutes each day with the teacher ; little finger exercises only
are the best.
It is a poor plan for a child to take one lesson a week. They are not
advanced enough to judge for themselves and so, unconsciously, they
fall into bad habits, make mistakes, practice them, and oftentimes must
take the lesson over again. This discourages the pupil and is an extra
expense to the parent. Two lessons a week keep up the interest, keep
the child in steadier practice and is less liable to faults.
It is just as easy to inculcate good taste and refined, exalted ideas of
music as to train them to have a fondness for the so-called popular airs
of the day. Never allow a pupil to rush through a piece slurring over
PRACTICING EXERCISES. 285
Page 252
Presented as published in 1886. Historical recipes may not meet modern food-safety standards. Cook from the modern interpretation, not the original instructions.
AI-modernized reading of the original text
than two lines at a time. The five finger exercise should be the first practice, the scales the second. Children going to school should, if possible, practice at least half an hour before school and ought to come out when they do not lose a recitation and practice during school hours. If a child comes home tired from school they need the fresh air and relaxation from study. Practice after a day's work is never so beneficial as when carried on with the work. Remember that music is a part of the child's education, and if the child is expected to become proficient, it is quite as long a study as reading, writing and arithmetic.
Do not allow a child or beginner to play pieces for the first two or three terms at least. Wait till their fingers acquire that degree of fluency as to allow them to play quietly and easily. Be sure that the pupil counts aloud, never to themselves, and be sure that the practice is always counted. Practice counting with a clock till you can count as even as the clock, although you may count faster or slower, but always even ; make the playing come to the counting, but never the counting to the playing, and be sure that the pupil plays slow. Almost all pupils play too fast. They blunder constantly, forgetting their time and the various marks of expression to be observed. Practice slow, that every measure may be in the same time from first to last ; the fast will come itself after you are perfect in all other things.
Expression in music is too much neglected. A pupil commences a piece and thumps through to the end in about the same strain. Look over the piece, observe every little mark, be it ever so small. See that you pay particular attention to accent. We have words in music as well as reading. You would laugh to hear one read with the accent or emphasis on the wrong syllable, yet it is very often the case in music. Accent means to strike louder on one note than another. When counting two or three, in the measure, accent the first count only. When counting four, one and three are accented ; six, one and four. Triplets are always accented on the first note of each triplet. The question is often asked, when shall a child begin. If you have the right kind of a teacher, as soon as a child can reach six keys is not too young. About fifteen minutes each day with the teacher ; little finger exercises only are the best.
It is a poor plan for a child to take one lesson a week. They are not advanced enough to judge for themselves and so, unconsciously, they fall into bad habits, make mistakes, practice them, and oftentimes must take the lesson over again. This discourages the pupil and is an extra expense to the parent. Two lessons a week keep up the interest, keep the child in steadier practice and is less liable to faults.
It is just as easy to inculcate good taste and refined, exalted ideas of music as to train them to have a fondness for the so-called popular airs of the day. Never allow a pupil to rush through a piece slurring over
PRACTICING EXERCISES. 285