Читать книгу Piano Mastery: Talks with Master Pianists and Teachers - Harriette Brower - Страница 23

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"There is a certain amount of what I might call 'natural technic' possessed by every one—some one point which is easy for him. It Is often the trill. It has frequently come under my notice that players with little facility in other ways, can make a good trill. Some singers have this gift; Mme. Melba is one who never had to study a trill, for she was born with a nightingale in her throat. I knew a young man in London who was evidently born with an aptitude for octaves. He had wonderful wrists, and could make countless repetitions of the octave without the least fatigue. He never had to practise octaves, they came to him naturally.

"The teacher's work is both corrective and constructive. He must see what is wrong and be able to correct it. Like a physician, he should find the weak and deficient parts and build them up. He should have some remedy at his command that will fit the needs of each pupil.

"I give very few études, and those I administer in homeopathic doses. It is not necessary to play through a mass of études to become a good pianist. Much of the necessary technic may be learned from the pieces themselves, though scales and arpeggios must form part of the daily routine.