ason. Brilliant red is a
warlike color, and finds analogous expression in such pieces as Chopin's
Polonaise _Militaire_, and MacDowell's Polonaise. We cannot help seeing,
feeling the color red, when playing such music. Soft pink and rose for
love music, tender blues and shades of gray for nocturnes and night
pieces are some of the affinities of tone and color. Warm shades of
yellow and golden brown suggest an atmosphere of early autumn, while
delicate or vivid greens give thoughts of spring and luscious summer.
Certain pieces of Mozart seem to bring before us the rich greens of a
summer landscape; the Fantaisie in C minor, and the Pastorale Varie are
of this type.

Arthur Hochman says: "Colors mean so much to me; some are so beautiful,
the various shades of red for instance, then the golden yellows, rich
warm browns, and liquid blues. We can make as wonderful combinations in
tone color as ever painter put upon canvas. To me dark red speaks of
something tender, heart-searching, mysterious. On the other hand the
shades of yellow express gaiety and brightness."

It has been said that a pianist should study color effects in order to
express them in his playing. He can do this to special advantage at the
theater or opera, where he can see unrolled before him the greatest
possible variety in light and shade, in colors, and in the constantly
changing panorama of action and emotion.

The pianist can receive many ideas of tone color when listening to a
great singer, and watching the infinite tonal gradations produced on
the "greatest of all instruments," the human voice.

In short the pianist draws from many sources the experience, the feeling
and emotion with which he strives to inspire the tones he evokes from
his instrument. The keener his perceptions, the more he labors, suffers,
and _lives_, the more he will be able to express through his chosen
medium--the piano!

***END OF THE PROJECT GUTENBERG EBOOK PIANO MASTERY***

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