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Page 23
Here nothing is left vague. Matthay shows clearly how all musical Form
and Shape imply Movement and Progression: the movement of a phrase
toward its cadence; the movement of a group of notes toward a beat or
pulse ahead, or the movement of a whole piece toward its climax, etc.
This original view of his regarding form, which he has advocated for
the last twenty years, is now being accepted generally by the more
up-to-date of the English theorists and teachers.
In regard to key mechanism and what must be done to produce all
varieties of touch and tone, Matthay has made exhaustive studies. He
says (_First Principles of Piano Playing_): "The two chief rules of
technic, as regards the key, are, therefore: Always feel how much the
key resists you: feel how much the key _wants_ for every note. Second,
Always listen for the moment each sound begins, so that you may learn to
direct your effort to the sound only, and not to the key bed. You must
never hit a key down, nor hit _at_ it. The finger-tip may fall on the
key, and in gently reaching the key you may follow up such fall by
acting against the key. This action against the key must be for the sole
purpose of making it move--in one of the many ways which each give us
quite a different kind of sound. And you must always direct such action
to the point in key descent where the sound begins."
I quote also this little summary from the same work:
"(a) It is only by making the hammer-end of the key move that you can
make a sound. (b) The swifter the movement the louder the sound. (c)
The more gradual this swiftness is obtained the more beautiful the
quality of sound. (d) For brilliant tone you may hit the string by means
of the key, but do not, by mistake, hit the key instead. (e) You must
'aim' the key to the _beginning_ of each sound, because the hammer falls
off the string as you hear that beginning, and it is too late then to
influence the sound except its continuance. (f) It is wrong to squeeze
the key beds, because it prevents tone, impairs musical result, impedes
agility, and is, besides, fatiguing. (g) You must feel the 'giving way
point' of the key, so that you may be able to tell how much force is
required for each note. Never, therefore, really hit the keys."
Mr. Matthay as minutely gives directions as to the muscular problems of
touch and technique. For instance, he explains how all varieties of
tone, good and bad, are caused, all inflections of Duration, and the
laws which govern the attainment of Agility and ease of Technique; and
also explains the nature of incorrect muscular actions which prevent the
attainment of all these things. He shows where the released arm weight
should be applied, and again, where it should be eliminated; makes
clear the two opposite forms of technic implied by "flat" and "bent"
finger actions, and he goes exhaustively into the little-understood
question of forearm rotary exertions, the correct application of which
he proves to be necessary for every note we play.
In speaking of methods in piano teaching, Mr. Matthay said to me:
"I can say I have no method _of playing_, and moreover I have not much
faith in people who have. My teachings merely show how all playing, good
or bad, is accomplished. There are certain principles, however, which
every player should know, but which, I am sorry to say, are as yet
scarcely apprehended even by the best teachers. The great pianists have
experimented till they have hit upon effects which they can repeat if
all conditions are favorable, and they are in the mood. As a rule they
do not know the laws underlying these effects. You may ask the greatest
pianists, for example, how to play octaves. 'Oh, I play them
thus'--illustrating. Just what to do to attain this result they cannot
explain. In my own case I have done much experimenting, but always with
the view to discovering _how_ things are done--the facts and laws
governing actual tone production and interpretation. I made a study of
Rubinstein's playing, for I found he played a great deal better than I
did. So I discovered many things in listening to him, which he perhaps
could not have explained to me. These facts are incontrovertible and I
have brought many of my colleagues to see the truth of them. More than
this, I have brought many even of my older colleagues who had a
life-time of wrong mental habits to impede them, to realize the truth of
my teachings.
"The work of a teacher should speak for itself. For my own part I never
advertise, for I can point to hundreds of pupils--this is no
exaggeration in the least!--who are constantly before the public, as
concert pianists and successful teachers.
"If there is one thing that rouses me deeply, it is the incompetence of
so many teachers of piano. They say to the pupil: 'You play badly, you
must play better'; but they do not tell the pupil _how_ to play better.
They give doses of �tudes, sonatas and pieces, yet never get at the
heart of the matter at all. It is even worse than the fake singing
teachers; I feel like saying it is damnable!"
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