W. S. B. Mathews · section 5 of 24

Mason’s touch and technic in this course

The studies of the “Standard Graded Course” will be equally serviceable whatever technical exercises be employed in connection with them. More rapid command of the keyboard, and a better foundation for artistic playing will be laid by the use of the Mason’s “Touch and Technic.” In order to teach these the teacher will be obliged to have mastered the general features of the system, after which the application may be made orally.

After becoming familiar with the keyboard the beginner should at once begin the cultivation of a proper position of the hand. In the five-finger position, each finger covers its key. All the finger-joints are curved, so that the entire outer line of the upper side of the hand forms a continuous curve, the fingers being well rounded. In this position the points do not make a straight line upon the keys but a curved line, owing to the greater length of some than of others. The thumb will lie upon the key to about the extent of the nail. Observe carefully the following: (a) The nail joints must never collapse and sink in, but always be curved convexly, whenever a tone is being produced. (b) The back of the hand is almost exactly level from side to side, the little finger side practically as high as the other. (c) The wrist is carried just a trifle lower than the knuckle joints. (d) The knuckle joints are not quite flat with the back of the hand, but convexed a little. (e) The palm of the hand is carried rather high from the keys, at least an inch, and not pressed down close to the keys. These are the elements of a strong and arched hand, in which every part strengthens every other part.

When the hand extends over a wider compass, as in reaching a distant key, it flattens itself somewhat, but immediately recovers the five-finger position as soon as the extension is passed.

After the hand position has been acquired, begin with Mason Two-Finger Exercise in clinging touch, No 1. When this is carried through the fingers successfully, which it will be after a few minutes’ training, give the first steps towards the exercise for elastic touch, No. 2. Thus the two-finger practice will go through the first lesson in these two types. At the second lesson improve the elastic touch, and introduce the moderato form, No. 4. Henceforth these three forms go together, as the first part of the daily practice. About the eighth or tenth lesson introduce the second rhythm, Nos. 3, 5, 7, etc. Henceforth carry all together, or if the daily practice is too short to permit so great a subdivision of the matter, give the first rhythm at one lesson and the second at the next and so on alternately. Apply the various forms of expression indicated in “Touch and Technic,” see Nos. 8 to 13, etc. About the fifteenth lesson introduce triple measures, Nos. 14 to 16, etc., and the velocity forms 17 to 22. About the twentieth lesson take up the broken thirds, Nos. 23 to 40. When the pupil has worked upon these for about a fortnight, recur again to the exercises in the diatonic scale, Nos. 1 to 21. Later come back once more to the broken third forms.

This will be sufficient for the two-finger exercises during this grade. The daily practice should amount to about fifteen minutes upon them. The light finger touch in passageplaying will be facilitated by the practice of the Plaidy triplets with each hand separately (see No. 53). Later the fivefinger forms will also be useful; and still later the scales.

The scales

During the early grades at least five scales should be played: C, G, D, F, A. Each scale with one hand at a time. At first for the keyboard track (i. e., the instinctive selection of whatever black keys belong to the signature) and for correct fingering; and then in rhythmic forms of various kinds,

preferably in a compass of one octave, or at most two. In simple forms, with one tone to a count, in 4-4, 6-8, and 9-8 measure, continuing each form until the accent is completed by falling upon the tone where it began. Later the same, all measures of 3, 4, 6, 9, and 12 counts, with two tones to unit of time; and afterwards with three; still later with four. A “Rhythmic Table” may be interposed at any point where it seems advisable. See “Touch and Technic,” Vol. II, Exercises a, b, c, and Ex. 2, 3, 4. The scales in the first grade should not exceed one octave compass, and never with both hands together. For a complete table of all major and minor scales in one octave compass see the last page of this volume.

Arpeggios

It is a matter of choice with the teacher whether the Arpeggio or the Scale should be given first. Upon the whole perhaps the Arpeggio will be better, on account of its separating the fingers, and using the fourth as often as any of the others. Moreover the principles of accentuation and of rhythmic grading are more naturally applied to arpeggios than to scales, and the resulting complex unities are more easily apprehended by the pupils.

In the First Grade, or the Second at latest, give the Arpeggio of the C position of the diminished chord (“Touch and Technic,” Vol. III, Exercises 1 to 3). This is to be done orally. First teach the placing of the fingers over the chord, beginning with C and skipping over two keys before putting the next finger down, so that the fingers are equally separated. At the next lesson transfer the accent, and begin upon the exercise in graded rhythm, giving at the first attempt only the quarters and eighth notes. At the next lesson give the sixteenth note grade, and apply the same to the transfer of accent.

It is, of course, understood that any of these exercises may be introduced as the teacher conceives best; and always in only a small amount with any one lesson. The tendency is to make the technic more fluent, surer and more natural.

Ear-training

It will be much better for the musical future of the student if a certain amount of ear-training be administered in conjunction with the exercise of reading from the notes. It is desirable that the student learn to seize an entire group at a glance, just as one reads an entire word without spelling it out. Preliminary to this, the staff can be taught, and the pupil required to place dots upon the proper degrees of a rue staff (drawn off-hand upon a sheet of paper) according to the teacher’s playing. Begin this exercise with forms of two tones, as C D C, C E C, C F C, etc. Play the three tones, then have the pupil write them, or at least dot upon the staff to correspond. After a few early attempts of this kind, cause the pupil to turn the back to the keyboard and tell from ear which tones are played, dotting them after naming them. This exercise continued from lesson to lesson, for twenty minutes at each time, will be of great use to the musical comprehension of the written exercises.

All the early exercises are to be played with each hand alone before playing them with the two hands together. The proper proportion will be to play each exercise four times through with the right hand, and four times through with the left hand; then four times with both hands together. Counting aloud the time from the very first.

It may not be thought necessary for the pupil to play so many studies of nearly the same degree of difficulty, but it is better to err in giving too much than too little. Besides, if the exercises are given in sufficient quantity, there will not be too many of them. In other words they will be completed within a reasonable lapse of time.