MUSICAL GROWTH THROUGH USAGE.

BY CHARLES E. WATT.

THE mechanical and the artistic worlds are full of examples which show the wonderful proficiency possible of attainment by human eye, brain or muscle when the necessary concentration and application have been made. But in every unusual use of any power of the human body there is one invariable rule, and that is "Growth comes with usage." This rule, unfortunately, is supplemented by another. "Decay conies from disuse."

There has been an unfortunate tendency in public print of the past few years to decry the necessity for strenuous application in the matter of technic building as applied to piano playing and there have been dozens of "easy" ways thought out and suggested. All of these being more or less built upon the thought that mental activity may take the place of muscular movement, and that if we will bin "think" technic hard enough we may have it without so many hours of actual work.

This idea is right, in so far as it is built upon the premise that correct mental concept and concentration are desirable. As a matter of fact, if the pupil will always have in mind just what he wants to do. and will, at his practice hour, concentrate his whole being- in the effort to accomplish his end. he will multiply his power many fold over the other pupil who spends his hours in haphazard way.

That any amount of thought or concentration, or that any possible device of the cleverest brain can ever really supplant actual technical work is a mistaken idea. For, technic is nothing after all but intelligently guided muscle power-and this power can only be present when it has accumulated through the persistent doing of the necessary exercise over again and again. Every really great technician has become so through ardent labor-perhaps in some cases the labor has been directed and has brought the results more swiftly than in others, but, labor there has always been.

On the other hand, there are pupils and amateurs by the score who have studied intelligently, and who really know the essentials of highly developed technic-who can explain these essentials in convincing detail, and yet who have not real technical power themselves. Why? Simply because they have as yet been unwilling to buckle down to the hours of drudgery which are now, as they always have been, and always will be, the price of technical proficiency. Therefore, don't deceive yourself, my young friend, as to your possible future in piano playing. For, in spite of any published comment to the contrary, in spite, of the fanciful teachings of any possible sect, it remains true, that you will not become a really good pianist unless you are willing to pay the price in the "sweat of your brow," and in the giving of an infinity of time, thought and strength to your purpose.