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Page 50
When one teaches from nine in the morning till after six every day of
the season, it is not easy to find a leisure hour in which to discuss
means and methods. By a fortunate chance, however, such an interview was
recently possible.
The questions had been borne in upon me: By what art or influence has
this teacher attracted so large a following? What is it which brings to
her side not only the society girl but the serious art-student and young
teacher? What is the magnet which draws so many pupils to her that five
assistants are needed to prepare those who are not yet ready to profit
by her instruction? When I came in touch with this modest, unassuming
woman, who greeted me with simple cordiality, and spoke with quiet
dignity of her work, I felt that the only magnet was the ability to
impart definite ideas in the simplest possible way.
"Dr. William Mason, with whom I studied," began Mrs. Morgan, "used to
say that a musical touch was born, not made; but I have found it
possible to so instruct a pupil that she can make as beautiful a tone as
can be made; even a child can do this. The whole secret lies in arm and
wrist relaxation, with arched hand, and firm nail joint.
INSPIRATION FROM AN AMERICAN TEACHER
"I feel that Dr. Mason himself was the one who made me see the reason of
things. I had always played more or less brilliantly, for technic came
rather easy to me. I had studied in Leipsic, where I may say I learned
little or nothing about the principles of piano playing, but only
'crammed' a great number of difficult compositions. I had been with
Moszkowski also; but it was really Dr. Mason, an American teacher, who
first set me thinking. I began to think so earnestly about the reason
for doing things that I often argued the points out with him, until he
would laugh and say, 'You go one way and I go another, but we both reach
the same point in the end.' And from that time I have gone on and on
until I have evolved my own system of doing things. A teacher cannot
stand still. I would be a fool not to profit by the experience gained
through each pupil, for each one is a separate study. This has been a
growth of perhaps twenty-five years--as the result of my effort to
present the subject of piano technic in the most concise form. I have
been constantly learning what is not essential, and what can be omitted.
SIMPLICITY
"Simplicity Is the keynote of my work. I try to teach only the
essentials. There are so many �tudes and studies that are good, Czerny,
for instance, is splendid. I believe in it all, but there is not time
for much of it. So with Bach. I approve of studying everything we have
of his for piano, from the 'Little Pieces' up to the big Preludes and
Fugues. Whenever I can I use Bach. But here again we have not time to
use as much of Bach as we should like. Still I do the best I can. Even
with those who have not a great deal of time to practise, I get in a
Bach Invention whenever possible.
"When a new pupil comes who is just starting, or has been badly taught,
she must of course begin with hand formation. She learns to form the
arch of the hand and secure firm finger joints, especially the nail
joint. I form the hand away from the piano, at a table. Nothing can be
done toward playing till these things are accomplished. I often have
pupils who have been playing difficult music for years, and who consider
themselves far advanced. When I show them some of these simple things,
they consider them far too easy until they find they cannot do them.
Sometimes nothing can be done with such pupils until they are willing to
get right down to rock bottom, and learn how to form the hand. As to the
length of time required, it depends on the mentality of the pupil and
the kind of hand. Some hands are naturally very soft and flabby, and of
course it is more difficult to render them strong.
FINGER ACTION
"When the arch of the hand is formed, we cultivate intelligent movement
in the finger tips, and for this we must have a strong, dependable nail
joint. Of course young students must have knuckle action of the fingers,
but I disapprove of fingers being raised too high. As we advance, and
the nail joint becomes firmer and more controlled, there is not so great
need for much finger action. Velocity is acquired by less and less
action of the fingers; force is gained by allowing arm weight to rest on
the fingers; lightness and delicacy by taking the arm weight off the
fingers--holding it back.
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