Methorls atid aids iii misic Pclircation
and define in minutest detail all the motory and dynamic conditions
which it imposed upon us, and which it proves to be inseparably
linked with the playing and interpretation of instrumental music.
The most important conclusions which I drew from this research
were the following:
- All music is based upon four fundamental elements, which are : the
scale, the arpeggio, the ‘double note’, and the chord; these necessi-
tate the employment of certain fixed methods, effective for all pupils.
- As the muscular system of every individual reacts in the same way
to similar causes, methods of adapting it to piano-playing should
inevitably be identical for everyone, and interpretation alone should
be conditioned by individual differences of personality.
- In human motivity, the determining factor is muscular antagonism;
through skilful control of the latter, one can overcome completely
the so-called technical difficulties-which are really only neuro-
motor difficulties-inherent in the playing of any instrument; con-
versely, failure to recognize its significance is the principal cause of
the difficulties encountered by pianists and instrumentalists in
general.
Hence, one is naturally led to suppose that, in the performance of all
great pianists, who always have an inborn capacity for motory co-
ordination, their methods of adapting themselves to the piano are
identical and completely rational.
In order to test my theory in practice, I decided to make use of films.
As I was most anxious that the results of all my research should be
examined with complete objectivity, I requested a few of the greatest
living pianists to assist me by playing in front of an ultra-fast camera.
As they were all sincerely interested in my ideas, I was able in this way
to assemble information unique in the history of instrumental in-
struction. Slow-motion pictures of pianists like Arrau, Backhaus,
Borowski, Cortot, Casadesus, Horowitx, Marguerite Long, Wanda
Landowska, Orloff and Arthur Rubinstein are of decisive importance
for the future of piano teaching, since they prove that there is only
one way of adapting oneself rationally to the instrument. Indeed, there
is now, for the first time, a hope of finally eliminating empiricism, the
greatest enemy of every pupil.
If account is taken of these newly discovered facts, it will certainly
be impossible henceforth for any mistakes to be made, so far as move-
ment is concerned, in piano teaching. Pupils need never again be
hindered by physical difficulties, nor will they be obliged to waste
time and energy. Every pupil will be sure of working to the full extent
