ALPHABETICAL INDEX OF

QUESTIONS

PAGE
About Starting On a Concert Career 162
Accenting a Mordent in a Sonata 70
Accompanist Usually Precedes Soloist at Entering 164
Action of a Beginner's Piano, The 87
Action of the Little Finger, The 17
Advantage of Legato over Staccato, The 22
Affected Movements at the Piano 126
"Afraid to Play Before People" 121
Age of the Student is Immaterial 139
Always Keep in Touch With Bach 81
Art of Accompanying a Soloist, The 118
Art of Playing With Feeling, The 124
As to one Composer—Excluding All Others 160
As to Playing Rubato 100
As to the Bach Fugues 88
Bach's Music Necessary to Good Technique 80
Bach's Preludes and Fugues 82
Beethoven Sonata with a Pastoral Character, The 84
Beginner in Bach Music, The 80
Best Physical Exercise for the Pianist, The 131
Best Way to Improve Sight-Reading, The 117
Best Way to Work Up a Quick Tempo, The 54
Better Not Give the Child "Modified Classics" 148

Biting the Finger-Nails Spoils the Touch 19
Broad-Tipped Fingers Not a Disadvantage 20
C-Scale Fingering for All Scales, The 28
Can Music be Studied in America? 148
Cantabile Passages 7
Charm of Chopin's Touch, The 86
Chopin's Barcarolle 88
Chopin's Work for a Popular Concert 88
"Colour" of Various Keys, The 137
Company that One Keeps in Music, The 133
Composition Must Fit the Player, The 130
Conditions Which Dictate Speed in Playing, The 53
Counting Out Loud 50
Difference Between Conception and Rubato, The 102
Difference Between "Finger Staccato" and Other Kinds, The 22
Difference Between Major and Minor Scales, The 109
Difference in Playing Trills, The 74
Different Conceptions May be Individually Correct 102
Disputed Chopin Reading, A 78
Do not Allow the Wrist to Get Stiff 10
Do not Injure the Hand by Stretching It 13
Do not Over-Use the Soft Pedal 44
Do not Raise the Piano-Stool too High 4
Do not Raise Wrist in Marking a Rest 99
Do not Stiffen the Hands in Playing Scales 9
Do not Use a Piano Extreme in "Action" 36
Double Sharp Misprinted for Double Flat 65

E Sharp and B Sharp and the Double Flat 64
Easiest Way to Memorize, The 113
Effect of Double Flats, The 65
Effect of Playing the Same Piece Often, The 122
Either Trust Your Teacher or Get a New One 146
Etudes for Advanced Players to Work At 94
Exercises for the Beginner to Practise 93
Fatiguing the Hand by Stretching 12
Few Sonatas of Beethoven, Well Played, Are Enough, A 85
Fingering the Chromatic Scale 28
Fingers Needed to Play a Mordent, The 28
Firm and Crisp Legato Touch, The 24
First Learn to Play Simple Things Well 162
Four Ways to Study a Piano Piece 52
Fourth and Fifth Fingers, The 16
Frequent Lessons and Shorter 147
General Rule About the Pedal, A 39
Genuine Piano Hand, The 130
Give Your Teacher a Fair Trial 145
Good Finger Exercises 93
Good Intermediate Books of Etudes 94
Greatest Composers as Pianists, The 91
Hearing a Piece Before Studying It 104
Height of the Piano Seat, The 5
Horseback Riding Stiffens the Fingers 132
How a Tie and a Slur Differ 63
How Are Syncopated Notes to be Played? 71

How Best to Play the Octaves 29
How Grace Notes Are Played 61
How Long an Accidental Affects a Note 64
How Much You Can Get from Music 157
How Organ Playing Affects the Pianist 26
How Tight to Keep the Piano's Action 37
How to Get Music Published 150
How to Hold the Thumb 16
How to Improve the Technique 4
How to Play Passages Marked "Rubato" 100
How to Use the Pedal 39
How Waltz, Menuet, Mazurka and Polonaise Differ 111
Importance of Studying With the Right Teacher, The 140
Incorrect Position of the Fingers, An 8
Individual Teacher or Conservatory? 142
In Order to Memorize Easily 115
In Playing a Sonata 75
"International" Piano Pitch, The 136
International Piano Pitch, The 136
Is the Piano the Hardest to Master? 127
"It is So Much Easier to Read Flats Than Sharps!" 157
Kind of Piano Upon Which to Practise, The 35
Kullak's "Method of Octaves" Still Good 34
Learning the Art of Accompanying 118
Learning to Accompany at Sight 117
Learning to Modulate 107

Let Your Ear Guide Your Pedalling 41
Loose Wrist, The 9
Masters Cannot be Studied In Order 90
Meaning and Use of "Motif," The 68
Meaning of Solfeggio, The 74
Meaning of "Toccata," The 111
Memorizing Quickly and Forgetting as Readily 115
Metronome Markings, The 57
Metronome Markings May Better be Ignored 59
Modern Piano Music 92
Mood and Tempo in the A Flat Impromptu 87
More Technique the More Practice, The 3
Morning is the Best Time to Practise 46
Morning Practice on the Piano, The 45
Music as a Profession or as an Avocation 156
Music Schools and Private Teachers 141
No Necessity to Watch the Fingers 19
Not Playing the Two Hands at Once 25
Nothing But the Best Will Do 141
Number of Lessons Depends on Progress, The 147
Old Problem of Duple Time against Triple, The 98
Omitting One Note in a Chord 89
Once More the "Soft" Pedal 44
One Lesson a Week 147
Only Kind of Practice Worth While, The 47
Order of Studying Beethoven's Sonatas 83
Organ Playing and the Piano Touch 26
Organizing a Musical Club 150

Perfect Rubato the Result of Momentary Impulse 101
Personal Element and the Metronome, The 58
Pianist Who Fails to Express Herself, The 123
Piano Study for Conductor and Composer 128
Play Chords With a Loose Arm 11
Playing Duple Time Against Triple 96
Playing from Memory is Indispensable 112
"Playing in Time" and "Playing in Rhythm" 151
Playing of Double Thirds, The 35
Playing of Slurred Notes, The 62
Playing On a Dumb Piano 38
Playing the "Melody in F" 79
Playing the "Spring Song" too Fast 77
Playing with Cold Hands 49
Point in Playing the "Moonlight Sonata," A 76
Position of Auxiliary Note in a Trill 72
Position of the Turn over a Note, The 71
Position of the Wrist, The 10
Practising Eight Hours Instead of Four 48
Practising the Two Parts Separately 52
Premature Fatigue in the Arms 33
Problem of Transposing at Sight, The 119
Proper Course for a Little Girl, The 146
Rapid Octaves 30
Real Meaning of Speed Terms, The 60
Relation of Harmony to Piano Playing, The 105
Rests Used under or over Notes 62
Results Count, Not the Methods, The 6
Rolled Chord Marked "Secco," A 70
Rubinstein or Liszt—Which is the Greater? 158
Rule for Selecting the Speed, A 60

Safe Way of Stretching the Small Hand, A 13
Sensible Scheme of Playing for Pleasure, A 161
Sex of the Piano Teacher, The 143
Should Piano Students Try to Compose? 108
Slurs and Accents Not Related 63
Small Notes under Large Ones 70
Some Pieces for a Girl of Fourteen 75
Speed and Smoothness in Trilling 73
Staffs are Independent of Each Other, The 66
Starting a Child's Musical Training 138
Stiff Wrists in Playing Octaves 33
Student Who Cannot Play Fast Music, The 151
Student Who Wants to Compose, The 108
Student with a Fondness for the Pedal, The 42
Study of Mendelssohn, The 85
Study of Operatic Transcriptions, The 91
Study of the Scales, The 51
Study of the Scales is very Important, The 50
Studying Counterpoint by One's Self 107
Take a Month's Rest Every Year 56
Taking Liberties With the Tempo 89
"Tenuto" Dash and Its Effect, The 69
Text-books on Harmony 106
There Are Dangers in Using a Metronome 59
There Is Only One Minor Scale 109
Tied Staccato Notes 69
Tilt of the Hand in Playing Scales, The 6
Time to Devote to Technical Exercises 47
To Gain Facility in Sight-Reading 117
To Keep Errors from Creeping in 116
To Play a Glissando Passage 29
To Prevent Sore Finger-tips After Playing 20

To Produce a Softer Tone 43
To Produce Good Legato 23
To Strengthen the Weak Finger, Use It 18
To Work up a Fast Tempo 53
Too Much "Method" 144
Trill Begins on the Melodic Note, A 72
Twenty-five Not Too Late to Begin 139
Two Hands Playing Difficult Rhythms, The 97
Universal System of Marking Fingering, The 27
Use of the Pedal for Colouring, The 39
Use Pedal With Caution In Playing Bach 41
Using the Two Pedals at Once 43
Value of Clementi's "Gradus" To-day, The 95
Value and Correct Practice of Phrasing, The 98
Value of Going to Concerts, The 153
Value of Heller's Studies, The 93
Watch Your Breathing 55
Weak Fingers of the Left Hand, The 18
Well-Tempered Piano Scale, The 137
What a Dot May Mean 77
What a Double Dot Means 62
What Does "Technique" Mean? 3
What Is the Best of Chopin? 86
What Is the Difference Between the Major and Minor Scales? 110
"What Is the Matter with My Scales?" 14
What the Leschetizky Method Is 144
What the Object of Study Should Be 135
What to Do with an Unemployed Hand 21
When an Accidental Is in Parentheses 66

When Playing Octaves 31
When Reading Over a New Piece 51
When the Fingers Seem Weak 18
When to Keep Away from the Piano 132
When to Play for People 120
When Tremolo Proves Unduly Fatiguing 11
When Two Fingers Have the Same Note 79
Where Outside Criticism Is Desirable 143
Where the Accent Should Be Placed 78
Which Fingers Demand Most Attention? 16
Which Should Come First—Conception or Technique? 103
Why Rag-time Is Injurious 134
Why So Many Different Keys? 105
Why the Pianist Should Study Harmony 104
Why the Piano Is So Popular 128
Why Two Names for the "Same" Key? 67
"Wonder Children" as Pianists 152
Wrist Staccato at a High Tempo 21
Wrist Stroke In Long Octave Passages 32

INDEX