50 TH E ETUD E HOW TO TREAT PUPILS WHO HAVE PRE-VIOUSLY STUDIED WITH ANOTHER TEACHER. [THERE are several interesting questions connected with the question of how to treat pupils who come to a teacher after having previously been under the instruc-tion of another teacher. In order to throw some practi-cal light on the subject the editor sent out letters to a number of teachers in various parts of the country and Canada asking for answers to several questions bearing on the subject. These questions and several replies follow.—ED.] 1. When some one who has previously studied with some other teacher comes to you for instruction, what kind of an examination, if any, do you make? 2. What bearing do you adopt in reference to the pre-vious instructor, as regards criticism or comment upon the character of his work ? 3. Do you allow the pupil to continue with the pieces and etudes given by the former teacher, or do you imme-diately give new work ? At what point do you begin your instruction—that is, keep right on from the grade the pupil has reached, or go back somewhat ? 4. Do you use any special exercise to break them into your method? 5. Do you find better preparation to-day than you did ten or fifteen years ago ? F^OJW E. VOJSL RQHIiXJfiG. 1. HAYING been informed what pieces the pupil played last, I ask him to try a piece which I select from the file of ETUDES I keep on hand. If too difficult, I give him another, until I know pretty fairly what he " does not know." 2. If the pupil's work praises the teacher, I praise him ; if not, I keep my own counsel; for the defects are oftener the fruits of laziness, carelessness, or indifference than the consequences of the teacher's incapacity or omissions. The number of teachers who by kindness combined with firmness understand how " to bring a pupil round " is indeed very small. 3. Pieces which are spoiled can never be restored ; therefore, I prefer giving a new piece at once. As to studies, not only my vanity, but especially my experience urge me to give one of the books of my " Twenty-four Studies.'' But if they have j ust commenced some books of studies, such as Bertini, Heller, Cramer, or Clementi, I defer my studies until some later time. I have a pretty complete assortment of studies on my shelves, among them those of Czerny of all grades and the four volumes of Wm. Mason's " Touch and Technic," which, however, partake more of the nature of exercises than of studies. I begin my instruction at the weakest point ; the pupil must be supplied above all with what he needs most. 4. Yes. Most of them I have printed, or in manu-script ; some I compose as the occasion requires. In fact, I appreciate exercises more than studies ; the latter, however, I consider indispensable in order to impart per-severance in playing difficulties, and muscular strength in enduring fatigue. 5. One ought to find it, and perhaps discovers it in a small number of "exceptions " ; but not in the ma-jority. The form changes. Methods have improved, but pupils—not. There is the same indifference to solid progress, the same antipathy to practicing, and I might add—mental work, as prevailed fifteen years ago. F^OJVI w . p . GATES . 1. AN oral examination or questioning to find the extent of the pupil's knowledge or ignorance, and abili-ties or disabilities. But it is not safe to take the pupil's word on the latter points ; for that, one must have heard several recitations and arrive at his own conclusions. The pupil is not often competent to diagnose his own case. 2. I used to be harder on " the other fellow " than I am now, and I doubt not that in a few years I will begin to think he was about right, anyway. A teacher should be judged not in the light of the pupil's present abilities, but in the light of his former disabilities. Not by what the teacher has made of him, but by what the teacher has tried to make of him. The pupil may have been of such material that the angel Gabriel could not teach him to blow a horn if he tried through all eternity. I wait until I see what I can do with a pupil before saying much about previous methods. In this respect, if in no other, I try to do as I would be done by. After a while, if my methods are superior to my predecessor's, the pupil will realize it without my telling him. If they are not, the less said about it the better. 3. I prefer that a pupil review, in the best shape in which he is capable, some of the work he has previously done. This enables him to present himself to me in his best aspect. I soon branch out into other material in order to keep up the pupil's interest and have him feel that he is making an advance. The whole thing is a failure if the student does not maintain a lively interest in his work. 4. The only '1 method'' I try to use is applied common sense. I'll admit that it is frequently hard to "break them into " good common sense methods, to quote the phraseology of the question. But if there has previously existed a good grade of common sense in the pupils, it will soon begin to show itself practically in their musical work. If they have previously been made up of whims, caprices, and uncertainties, without the balance wheel of education or judgment, the " breaking-in " process is a tedious matter. It is like the time at which an educa-tion should begin—the breaking-in ought to have begun with their grandfathers (or at least with their mothers). 5. Fifteen years ago I would not have made a compe-tent witness as to the preparation the musical world was getting. But I know I am giving enough better preparation to my pupils than I received in my earlier study. But I suppose most teachers can say that. FHO^WI J. B . P. AIiDOUS . 1. I FIRST proceed to find out how far pupils have gone in scales, arpeggios, etc. Secondly, then to find what is known of the bookwork of music, whether the rudi-ments are thoroughly known, and if any theory. This determines what grade the student belongs to ; what has to be done in the way of technic and of theoretical study. 2. I endeavor, so far as possible, to indorse the work done by previous teachers. If anything has to be radi-cally altered, I try to do it in such a way as to avoid put-ting previous teachers in the wrong ; for I hold it to be one of the worst things for one teacher to run down or criticize another, except in the case of those who are obvious humbugs. 3. I prefer to commence with quite new work, unless I find something well begun. I endeavor to keep on the same line as the former teacher, if it seems the right one, by continuing to use the books already given if I approve of them. I try to carry the pupil straight on from the point arrived at, unless there are some radical faults to be corrected. I do not see the use in going back to a grade already passed. 4. I have certain special exercises, both in scale and arpeggio work, that I always give a new pupil unless I find the scale and arpeggio work goes well in the way that has been already learned. p^O ^ WllililJ&JW BEflBOW . 1. MY usual plan is to ask the pupil to play some piece, not necessarily the last, that was studied. That will show how he stands as to phrasing, touch, pedaling, etc. A question or two as to key, signs, terms, and a scale and arpeggio form with accents will disclose a good deal. 2. It is not necessary to criticize the method of the former teacher, for you must take the pupil just as he stands at any rate, and it is impossible to say whether the defects are due to former teaching, or native awk-wardness, or what not. It is both uncharitable and unjust to criticize when one does not know the facts in the case. 3. If I think any of the pieces and studies formerly used will suit the exact conditions demanded by the pupil's progress, I use them. I give the pupil what I judge is the very best for his present condition, regard-less of what he may think is his grade. 4. I do not have any pet exercise, but give what will most thoroughly and easily fill his greatest need. 5. Yes. Studies are more musical and interesting, and they are better graded ; and as music is being more and more popularized, there is a keener interest and emula-tion. But, on the other hand, in my town school chil-dren are so overloaded with their studies thai they can not find as much time and zest for practice as they them-selves would like. F^OJW F^Jl ^ Lk. BYE** . 1. IN the first place, I talk to the pupil for about ten minutes, asking how many lessons he has taken, of whom, and what studies he has used. I endeavor to draw him out in order to find just what he knows about music in a general way, aside from actual performance on the instrument. Next, I have the pupil play for me. As a rule, he will play for you his favorite piece, so that one can get an idea of his musical taste and training in this direction. Allowing much for nervousness and want of practice, I note particularly the position of the hands, fingering, and sense of rhythm at this performance. A few more questions about the piece just played, and then I put a rather easy composition on the rack for him to play at sight. Before allowing him to play it, how-ever, I question him as to the signature, time, tempo, etc., and then, requesting him to count aloud, I let him go ahead. This test reveals much, and I consider it one of the most valuable a teacher can make. 2. It is poor policy to run down a former teacher. If you can-speak good of a person, speak; if not, keep silent. 3. Yes and no. Where he has a book of good standard 6tudes I sometimes allow him to continue for a time with them, provided his progress is satisfactory. If it is n't, I get him to work at something I deem more suit-able. 4. This depends upon circumstances. If a pupil has not too many faults to overcome in order to come up to my standard, I allow him to go on from the point where he left off as nearly as possible. If it be necessary to put him back, it should be done in such a politic manner that he will be wholly unconscious of it. 5. There is but one method, and that is the right one. Every teacher should have a little exercise to teach the staccato touch, legato, or portamento ; to loosen the wrist, etc. Should a pupil lack in any of these, then the exercises must come in play. 6. Yes. Especially is there an advance in musical taste. It is wonderful the amount of good music you will find to-day in out-of-the-way places. THE ETUDE and other musical journals have done much to spread the gospel of good music all over our land, and a higher musical taste and better methods of teaching is the re-sult in nearly every instance. pi^OJW E . tJ. DECEVBE . 1. I MAKE no oral examination. After the pupil has played a piece, a study, a few scales, or possibly other technical figures, I am able to discover the weak places and know what remedy to apply. 2. I simply refer to what, in my judgment, is neces-sary for the pupil to know, and incidentally to what has been overlooked, letting the pupil draw his or her own inference. I make no personal mention of any teacher. 3. I always advance the pupil along the line of work commenced under a former teacher ; provided, of course, the pupil is on the right track, both as regards technical requirements and general character of pieces employed. If the pupil has been neglected in these important mat-ters, I never hesitate frankly to say so, and frequently the pupil, for his or her own good, must return to the first round in the ladder. 4. I have no special exercises, save as these may be necessary to use in meeting individual weaknesses, in which cases I construct them myself to meet the required need. 5. Yes, decidedly ; at least, so far as competency in teaching is concerned.
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