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Page 52
"Of the classic literature, I use much Bach, when I can. I used to give
more Mozart than I do now; latterly I have inclined toward Haydn; his
Variations and Sonatas are fine; my students seem to prefer Haydn also.
I thoroughly believe in the value of polyphonic music as a mental study;
it is a necessity. And Bach is such a towering figure, such a rock of
strength in musical art. Bach was essentially a Christian, and this
element of devoutness, of worship, shines out in everything he wrote. I
do not believe that music, without this element of worship, will live.
Tschaikowsky did not have it, nor Berlioz, nor even Mozart, for Mozart
wrote merely from the idea of sheer beauty of sound; in that sense he
was a pagan. I doubt if Strauss has it. One cannot foresee how the
future will judge the music of to-day; what will it think of Sch�nberg?
I am holding in abeyance any opinion I might form regarding his work
till I have had more time to know it better. I can only say I have
heard his string Quartet three times. The first time I found much in it
to admire; the second time I was profoundly moved by certain parts of
it, and on the third occasion I felt that the work, especially the
latter part, contained some of the most beautiful music I had ever
listened to.
"In regard to the technical training my pupils receive, it is not so
easy to formulate my manner of teaching. Each pupil is a separate study,
and is different from every other. As you well know, I am not a 'method
man': I have little use for the so-called piano method. To be a true
teacher of the piano is a high calling indeed; for there are many
pedagogues but comparatively few real teachers. I make a distinction
between the two. A pedagogue is one who, filled with many rules and much
learning, endeavors to pour his knowledge into the pupil; whereas the
true teacher seeks to draw out what is in the pupil. He strives to find
what the pupil has aptitude for, what he likes to do and can do best.
The teacher must be something of a psychologist, or how can he correctly
judge of the pupil's temperament, his tastes, his mentality, and what to
do for him?
"When a new pupil comes, I must make a mental appraisement of his
capacity, his likelihood to grasp the subject, his quickness of
intelligence, his health, and so on. No two pupils can be treated in the
same way. One who has little continuity, who has never followed out a
serious line of thought in any direction, must be treated quite
differently from one of an opposite mentality and experience. It would
be useless to give Bach to the first pupil, it would only be a waste of
time and patience: he could not comprehend the music in any sense; he
would have no conception of the great things that Bach stands for. Such
a course of treatment would only make him hate music; whereas to one of
a more serious and thoughtful turn of mind, you might give any amount of
Bach.
"A student with a poor touch and undeveloped hand, must go through a
regular course of training. The hand is first placed in position, either
at the keyboard or on a table; the fingers are taught to start with up
movements, as the lifting muscles need special attention. A muscle or a
finger, is either _taut_, _flabby_ or _stiff_; it is the taut condition
I strive for--to make the finger responsive, like a fine steel spring.
"It is absolutely necessary to establish correct finger action at the
outset; for the sake of finger development, clearness, and accuracy.
When single fingers can make accurate up and down movements, we can put
two fingers together and acquire a perfect legato. I teach three kinds
of legato--the _passage_ legato, the _singing_ legato, and the
_accompanying_ legato; the pupil must master the first before attempting
the others. I advise technic practise with each hand alone, for you must
know I am a firm believer in the study of pure technic outside of
pieces.
"As the student advances we take up chord playing with different
touches, scales, arpeggios and octaves. I institute quite early what I
call polyphonic technic--one hand doing a different movement or touch
from the other. This works out in scales and arpeggios with a variety of
touches--one hand playing a passage or scale staccato while the other
plays legato, and vice versa."
Asked if he taught technical material without a book, Mr. Heffley
replied:
"No, I generally use the Heinrich Germer work, as it covers the ground
very satisfactorily; it is compact, concise, and complete in one volume.
I also use Mertke to some extent. Every form of exercise must be worked
out in all keys; I find the books useful for all kinds of students. I
may add that I use comparatively few �tudes.
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