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MODERN METHOD
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POR THB
EED
R G A N. .
Embodying the Latest and Most Approved Systems Conducive to
--- .J lapid Progcss and Artistic
Intcij}rctation~
ALSO CONTAINING
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/ ----- ~---
/ Various New and Important Features, Such asR egi.stratie,ftf-stop- Nome.nclature~ . !.··-:. .
~ _____ , Adaptation of Piano Music, etc.~ etf:... ·'Not tci']3e-¥o~ · .
J....ny. 9ther Work. of the Kind. · ·
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W. SUDDS.
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To
THE TEACHER.
'
Every e~rienced teacher has doubtless endured the inevitable pupil's perceptions a.nd promote the habit of c}.osely scanning the
trials incident to teaching beginners, chief among which, perhaps, is music when played for the first time.
lhe difticulty of inliucing young pupils to raise and drop their fingers It may be almost superftuous to add that it is next to impossible
without sluggishness while their eyes are intent upon the music page. to exaggerate the Importance of a correct beginning.
Referring to this particular trial, a recent writer aptly says: "I Leading teachers now concede that a pupil can be properly
arr'ved at the conclusion that the pupil ought to be his own watch- taught, musically and technically, in such a way that much of the
dog, as it were, and see himself play, which is contrary to universal drudgery consequent upon old methods w'ill be avoided, while at the
dictum." And so the competent teacher of to-day wisely refrains same time more rapid progress will be attained; and this, too, while
from teaching the beginner to read music until a sufticient amount of the studies, instead of being dry and uninteresting, are made actually
prior practice by dictation shall have assured the proper position and enjoyable.
movement of arm, ha.nd and fingers while the eyeJJ are engaged by the Every effort should be made to awaken the musical instincts of
music book. This method is well calculated to awaken early interest the pupil. The successful teacher will know how to do this by
and to maintain it; for more so than the older custom of-endeavoring numerous little methods which must be varied to suit the individu-
to teach the proper use of hand and fingers and the reading of notes ality of the pupil. Many players and singers are mechanical
,.tmultaneou!!ly. musicians because they have been taught too much mechanism and
'Ve assume that beginners in the profession of teaching music, too little music. Care fllhould be taken that the pupil's soul be not·
having no prejudice in. fiivor of the"old way, will follow our sugges- smothered in the drudgery of finger exercises, however indispensable
tiona without question ; but seme of the older teachers may hesitate these may be in their proper place.
to adopt a system so directly opposed to time-worn custom. To the Music teachers, who are worthy of the name, make as much
1atter we will simply say: Try it, and let the results render a verdict.. money by teaching as do the workers in any other profession. Mnny
However, the teacher may ignore the dictated lessom1 if so disposed, n business man does not clear a8 much money in a year as is earned
and begin on page 12. by scores of hurd working, competent music teachers, and it is Ml~·
Next, we urgently recommend (unless the conditions posit-ive1y the lazy, shiftles.'!, incompetent, so-called teachers of music who bring
forbid, and especially if the pupil be very young) that daily half-hour public odium on a comparatively lucrative profession. But the
lessom, or practice in the presence of the teacher, be insisted upon, at possession of talent is nothing unless it be accompanied by energy and
least during the first three months. industry which give it a place in the busy world. It stands to reaSC>n,
We also desire to impress upon the young teacher the great that, to secure success in life, the musician, whether teacher or artiRt,
importance of enoouraging, during the earlier stages of musical tuition, must cultivate the money-earning talent like other men. Musicians
-the habit of deep, serious tho11ght and careful, critical liste~ing, as is must learn to take practical views of art life. 'Vhether they a.re witL
again suggested bi. subsequent annotations. In other words, do your tng or not, the world will force them to learn the hard lesson of life.
best to make the pupil use brain as well as hands. Further observa- The editor of this work has recently compiled an instruction
tions regarding this important duty will be found on page 89 which it book entitled
will not be amiss for both teacher and pupil to read and consider in MODERN PRELIMINARY METHOD FOB THE PI.L~·v;- .,,... -
advance.
By no means allow the pupil to ignore, in the slightest degree, the immediate success of which, as evidenced by the hearty testlmo·
the directions as to touch, in its varied forms, and their application; nials and prompt adoption for use, by many of our experienced,
or to shirk the difficulties and drudgery of technical exercises, coupt- leading teachers, shows that for once, at least, a lung felt want hai;
ing aloud, etc., ere. really been filled. ~ ·
Encourage the pupil to commit to (play from) memory all of "Tith this fact in view, the aim in the present work bas been to
the more important pieces found in this work. As a means to follow, as far as consistent with the difference between the two instni-.
promote this valliB.ble 11i,Cqulrement, we have found that the following ments (a. difference here oonstrued to be all t?i_at t_he term implie8),
plan bring& g®d ~ylts : the same carefully graded course, which in a8 many cases as possible
First call the pupil's attention tp_..fr..,_ _ general plan, form, or includes the aame ezercisea, technical and otherwise, with, of course,
noticeable features of the piece a,l;><nt to be playedTtileii g~ive warning any necessary ada.ptatlon to the organ. This subject is again ref<:_~-·
that after playing the first t};lte0 or four measures, you wirrCover'--:the to on page 42. Teachers who ~Is on both piano a~d'""orga,n
·· • -..:.IJW!!!)._~tW: him,,W play the pa88age .from memor,1;. It iW .... , will appr~s;.-.::e ine convenience of having at their command instruc·
astoniBhlng how a frt:C1uent resort to this expedient will quicken the ~ for either instrument, coutu.iuillg so _muc;h in common.
,.,....,,-'
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-·----~ PARENTS.
In the better C'laes of publir schools-if the editor ha!" heen With our modern system of teaching beglnnere, there ls no reason
correctly iufotmed-it is now the practice to teach children to read why children in good health may not begin their musical studies at
t~ore they have learned the alphabet. A geueration ago such a the age of six or seven years, espeeially if rjrcumstances permit ·the
process would have been considered as evidence ·of insanity, which pupil to take daily lessons-which should certainly be done at the
rroves that we are progressing in our educational methods. If, outset, if possible. · .
therefore, the plan employed by the music teacher of your selection It is a mistake to expect great results simply because a chili
&hall pro\•e to be a radical departure from the methods formerly in displays unmistakable talent. Parents should remember that witb oat
vogue, remember that this very fact may be a strong .re commendation the talent for hard work natural gifts a.re practically worthless.
~~ Among other things that indicate the advisability of an early
It there be a choice of teachers, you. will find that the best beginning, is the fact that school duties are likely to crowd hard aftel"
re.suits will be attained by employing the most competent instructor; a child reaches the "teens," and later the demands of society are
11' possible, one of experience and established reputation. more or less exacting. . Moreover, when cbUdren begin early, mllsi.Q
Parents should willingly cooperate with the teacher in enforc becomes a part of their school life; and, by the way, when th~
mg
the. observance of regular practice hours, and doubtless would do summer vacation ~q~~1 let it be a vacation in musfo also. •--..... /;'
so far more faithfully if they c-0uld realize ho~· largely a pupil's AU'I('H,Q~J~
caecees and aclvancemeot depends upon such parental cooperation. . . THE
1'2)
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·< ~Mo dem. Method ; for the Recd O. rgan.
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A FEW ILLUSTRATIONS OF MODERN REED I (1897) they seem to be as near perfection as can b~ pos~ible
ORGAN MECHANISM. in an instrument of their size and cost.
· The principle of the American Reed Organ was first
· discovereq about 1835 by a w<:>rkman ill the factory of The tone of the reed organ is produced by a current of
M. Alexandre, a Harmonium maker, in Paris, who, after air being drawn (sucked) through reeds. A. reed-in the
. - c:ui18~ff2!1ting a few instruments on this plan, became dissat- sense here used-consists of a block aud to1.igue, the block
J isfied with·_+heoi and discontinued 'to manufacture them. being a thick strip of rolled brass in which a slot is cqi...
Subsequently his invention was brought to the United Over this slot, and securely fastened to it ,tit one end, is a
1
. States, the first of the instruments constructed on this plan thin strip of brass called the tongue, the fret; 1'lta of which
~ being known as Melodeous. About the year 1860 the first is caused to vibrate by the rush of air brought\ upon it by
American Reed, or Cabinet Organs, were produced by a the action of bellows. The size of reeds vary accprcli~_g ,to
Boston manufacturer, since which date their improvement the pitch required, figures 1 and 2 showing respec~hE
has_ be<'n constant and rapid; until at the present time larg..t and smalleot used. \
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Fig. 1. Fig. 2.
AMERICAN (REED) O&<h.N; - A free reed instrument Organ, as compared with the Harmonim..,, are that t
--~· similar. in construction to the Harmonium, but with.certain blowing takes much less effort, and that t~9tlro _ morE
· imvorianCdl1'1'ernrrees.- In the first place, the ·reeds of the organ-like quality~ -~i<:tiiii!7Yi,. ----
.\.,,_
· American Organ are considerably smaller and more curved .
and twisted than those of the Harmonium; producing a TUNING AND VOICING.
· . tone of more 'uniform power. In the American Organ,
The pitch of a reed is changed· by filing or scraping
moreover, the wind channel, u_nder which the reeds are
To raise the pitch, the free end of..+he tongue is mad~
placed, is always the exact length of the reed; whereas in thinner, while to lower it the other en 1',f the reed must b1
-·• the H~nium it is varied according to the quality of tone
similarly treated.
1
required. _A ~1other .point of difference is that in the. Har
~-'~
monium the wind is forced outward through the reeds, while • The voicing of reeds consist$ in a _.:.......... -
in the American Organ, .by reversal of the bellows action it twisting or curving the tougues, which detern:-·
.I( is drawn inward. The main advantages of the American quality of each set of reeds .
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THE WINDCREST AND REED BO.\.RD.
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-';-" Fig. 3.
~)>le-like surfac~ ~hich appear~ ;,.the J~si~
The on terraced similar row, in a double reed organ.
~w 0f cells, called the reed bo#«A (Figu~ 3),"shows the slot, or channel, o~er which t~~
upper surface or the windcbest and the cells in which the a pass•ge for the air curr:eµ',......
1~lacecl. The op~osj~e s~d~ of ~q~ ~eecl ~~rd has a . thus causiqg the reed~- '
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MODERN M.ETHOD. \ .
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Figure 4 shows the reeds of an 8~foot .treble set, and a ·1. · a little ·wooden rod or piston passes down through the ree-,
foot bass set, lying directly in front of the reed cells to board into the windcbest, its lower end standing ..\tpon·'.~
hich they belong. ·From beneath each of the organ keys valve, which pressure upon t.he key opens.
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Fig. 4 •
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· JN.1!11""' Ii, RliA>ws these -pistons, supported in perpendicu- !:;pistons comprise the mechanical contrivance known as the
~r position by a thit' at.r!_t> of bM.rd through which-they ·· ::Piyid!lc!_--Goupler "; which Js c911trolled by a s~p or knee-_r-'·
m, before (l()!lJ.iPg. _to the_ reed board, and windchest, and .s well" (sometimes called "knee-stop "), by wbicii-~ an -~
nally to the ·valve, oil which, as before stated, they act, octave above, or an octave below; from the keyboard centre ~-
nder pressure of the keys. -- ._ are caused to sound in additi_on to the reeds directly below ;.·
The metal rods which lie diagonally in front of the the key pressed. -- -L
·-~ __...J
- ~-'*'·--·-
Fig. 5,
THE VA.L VES. STOPS.
A valve is a small piece of wood carefully formed, one An organ stop &<?ts upon a sort of door or shu~er
le of wh~ is covered with thln, soft sheepskin. The which, when closed (the.stop knob pushed ih), prevents th1 .
~ve is kept in place, directly below the reed cell slot, by air current, caused by the action of the bellows, from reach-""
l'tain ·mall, pin-like metal posts or guides, and a strong ing or acting upon $he set ~f r?ed~ cont~olled by ~aid stoP/'
~ which presses it firmly up again~t the and door. A careful .e xammat1on of Figure ~ wlll sho"'
that forces the piston and the reeds in their cel-b.~low the door or shutter wlJMl-i
-~···-T'hwer
'tion the instant the finger w'!wq c'osed~ mak~ ill~~ te~ds~'quite invisible.
, ued.
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MODERN METHOD.
)
Pig. 6.
THE VOX HUMANA OR FAN TREMOLO. at back of the bellows is the escape valve, so-called, because
Figure 6, furthermore, gives a general rear view of an when a too vigorous use of the blow treadles. is made, this
organ stripped of its case. The wheel-like contrivance is a valve opens automatically, thus preventi~. . injury to the
sort of wind motor which causes the fan to revolye, the instrument from such misuse. · ~-j·
proper use of which is explained on page 34. The valve (A)
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Fig. 7• .
Figure 7 '' gives· a ·general front exposure ~of an organ stripped of its case. rL-_-.·c -
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6 MODERN METHOD. ·
'
The importance of a proper position at the organ Assuming the pupil to be a child, no further men~al
should· be thoroughly impressed upon the pupil at the labor, other than that above suggeste<l, s!J.onld be req uir ed
outset. The stool or bench should stand quite firm, with for a first lesson but that of holding the right hand in; e.
no tendency to rock, and of sufficient height to bring the proper position and the use of the fingers in playing thl:·:
elbows a little below the level of the upper surface of the Exercise·No. 1, dictated to the pupil,·or any similar exercise
white keys, nwhen t he arms hang naturally at the sides. that may sugges.t itself to the teacher, __ This preliminary
e.;
For the convenience of a child pupil too small to reach finger drill mhy be done on a silent fey board, i. without
the blow treadles, fixtures made of iron or brass rods, in using the blow treadles.
this form, and of the required height., can easily be
attached to the blow treadles, as sl1own in the Next draw the two principal :;:tops, the Ditq•ason u!id
following illustration. Melodia, for instanc~ u11d placing the pupil's fingers c•f 01ie,
or both hands, on keys thnt will produce the chord offi(C,.
E, G), proceed to drill the pupil in the use of the blow
treadles in a steady alternate motion. The chord is sounded
merely to afford an escape for the air from the wind-chest
while the treadles are being used. Impress the student
with the fact that the fewer the keys and stops used, the less
is the 1·equired motion of the Llow treadles.
Until considerable adv11ncement has been made,it will
be well to use but two of the organ stops; those mentL .ied
above, for instance. Later on the matter of. using the other
stops of your organ will be discussed at length.
Preparatory to what may be called finger toutffi, i. e., '
with uo arm or wrist motion, have the pupil close the· hands
.. into fi::;ts, with considerable streugth of grip, and thus call
l}tlention. to the constrieted, cramped feeliug of the wrists
iis something to avoid. Then, opening the hands freely, to
the feeling of release nnd ease in the relaxed muscles, as
something to maintain. ·
The teacher may first proceed to assist the pupil in
committing to memory the alphabetical application (letter Now, holding the right hand at the proper elevation
names given) to the white keys of the keyboard. utove the keys (see Fig. 8), but not touching them, move
Attention called to the alternate groups of two and thrtle each finger from the knuckle joint, slowly and lightly
bla~k keys, thus locating the C's and F's, will soon enable many times in succession, naming them l>y their reb,t?ectwi/
the pupil to name the white keys without hesitation. 1111 m hers, as given in Fig. ~-
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fig. 8.
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Fig. 9.
" Marks of Fingering, Right Hand.
This is known as" foreign fingering," and is in almost The pupil may now proceed ..t o play, from dictati~,·
universal use to the exclusion of the so-called American, in No. 1, repeating it until easily and properly done. T. ,Q
·which the thumbs are indicated by an" x" and the fingers, pass on to the following numbers, practicing them in · ke
proper; l; 2, · 3i 4. No doubt the American is quite as manner. It is advisable that all the dictated exercise be
' consistentas the foreign, but the fact that much music of at first practiced -qpon r. silent lteyboard, thus concent.r. ing
foreign public ., n is used in ibis (;~>Untry renders it advis the mind upon the matter of finger motion only. . -·
1
&bief as a. COl,1! '.'nee to .American pupils, that our ow\ll Some authorities go,'so far .as~ to advocate this sr>tt of.
pu",. blica.tions shO'\. i1~d conftwm to those of the "old countr;j." drill upon a table, instea<d of a keyboard. l -
I. i
MODERN METHQ·u.
· No. 1. Right Hand. No. 2 .
. • ~~ ~ -~ f 1
Have the pupil at first name the keys·tou·ched.
-·:----
No. 3. No. 4.
u.
Fig.
Fig.10.
_______ _,,
MARKS OF FINGERING
LEFTHAND.
No. 7. Left Hand. No. 8.
No.9. No.10.
No.11. No.12.
-- .
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8 METHO.D.
No.15. Left Hand.
5 3 1 5 3 1 2 3 4 1 Ma. WN5 o. 316.4 1 l-5~ -!1' - +2 3 4 1.
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Nb. 17. Right Hand. No. 18.
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No. 19. Left Hand. No. 20.
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Should the pupil evince anxiety to begin playing justified in adding many other dictated exercises of
from the instruction book, ·i.e., to begin reading music, their own invention, especially in the case of a child
convince him, by all means that to do so before a reason pupil.
able degree of facility in finger motion has been ac The following four exercises should first be prac
quired,-which is much sooner attained through the ticed with each han'd alone, and afterwards with both
practice of dictated exercises, would retard, instead of hands together. If desired, the hands may piay·them
accellera.ting progress. In fact, teachers will be entirely two, or even three octaves apa.rt .
.. 1'.o.. 9.1 No.22.
No. 23. No.24. ·
MODERN METHOD.
--- Explain to tne pupil, that inasmuch as no black ke_y appears between B and C, or E and F, the sharps of B,
anq
E are p,rotluced by white keys. ' ·
No.2~
Now teach tne names of the black keys, as flats, in like manner, practicing Numbers 29, to 32 inclusive, first
with each hand alone.
No.2& No.30.
'
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-,....__ . __ --· --Exp.lam tQ,..tll~ pupil that F flat and C flat, are produced by white keys.
~~'·-·-'- -- 31. .
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Drill the pupil thoroughly on the following scale exercise: and see that in passing the thumt>-tmider, anrt'
the 3rd finger over. the wrist is not turned outwa1·d any more than absol,utely necessary,:
10 . MODERN METHOD:
.
.3 \
The pupil may now be given dictatecl drill in fin--,:, playing. By all means impre_ss the student with the
ger ·staccato, and in counting. Be sure that the count fact that, at this stage o:ftpwogress, counting correctly
ing is very slow and distinct, 1, 2, 3, 4, the teacher is of even greater importarwe than playing correctly, as
meanwhile playing the exercise, (No. 33.) then vice the accuracy of the latter is really dependent upon the
versa, the pupil doing the playing. Make the touch former. ·
the crisp staccato indicated. When this.much has been If neceRsary, to illustrate finger staccato, show the
accomplished, have the pupil do both counting and pupil Fig. 75, page 29.
No. 33. Left Hand.
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1 3 3 3 · I 2 2 2 1 4 .4 4 · 1 6 6 6
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No. 34. Right Hand.
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·Then play Numbers 33 and 34 together.
Fig.12.
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,; '
Finally drill the student in hand or wrist stroke. less. When the hand is up, the· wrist should be as
( ~ illustration !!'hove.) Make the pupil place the relaxed as possible; Let this practice be (at first,
haud in playing position over the key-board; then raise upon a silent key-board ) persevered in until the
it ~tirely-from the wrist, the arm remaining motion- motion becomes easy and natural.
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No. 36. Right Band. . . .
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