s
they become practically impossible to play with the proper touch, etc.
Furthermore, one would be very unlikely to find a passage demanding such
a technical feat in the compositions of any of the great masters of the
piano. Consequently, such exercises are of no practical value and would
only be demanded by a teacher with more respect for tradition than
common sense.

DETAILS OF PHRASING AND ACCENTUATION

"Some students look upon phrasing as a detail that can be postponed
until other supposedly more important things are accomplished. The very
musical meaning of any composition depends upon the correct
understanding and delivery of the phrases which make that composition.
To neglect the phrases would be about as sensible as it would be for the
great actor to neglect the proper thought division in the interpretation
of his lines. The greatest masterpiece of dramatic literature whether it
be _Romeo and Juliet_, _Antigone_, _La Malade Imaginaire_ or _The Doll's
House_ becomes nonsense if the thought divisions indicated by the
verbal phrases are not carefully determined and expressed.

"Great actors spend hours and hours seeking for the best method of
expressing the author's meaning. No pianist of ability would think of
giving less careful attention to phrasing. How stupid it would be for
the actor to add a word that concluded one sentence to the beginning of
the next sentence. How erroneous then is it for the pupil to add the
last note of one phrase to the beginning of the next phrase. Phrasing is
anything but a detail.

"Fine phrasing depends first upon a knowledge of music which enables one
to define the limitations of the phrase and then upon a knowledge of
pianoforte playing which enables one to execute it properly. Phrasing is
closely allied to the subject of accentuation and both subjects are
intimately connected with that of fingering. Without the proper fingers
it is often impossible to execute certain phrases correctly. Generally,
the accents are considered of importance because they are supposed to
fall in certain set parts of given measures, thus indicating the meter.

"In instructing very young pupils it may be necessary to lead them to
believe that the time must be marked in a definite manner by such
accents, but as the pupil advances he must understand that the measure
divisions are inserted principally for the purpose of enabling him to
read easily. He should learn to look upon each piece of music as