SOME CAUSES OF FAILURE

BY CARL CZERNY

Many pupils, as soon as their fingers have acquired some little facility, are led astray by the charms of novelty, and run into the error of attacking the most difficult compositions. Not a few who can hardly play the scales in a decent manner, and who ought to practice for years on easy studies and easy and ap¬propriate pieces, have the presumption to attempt the concertos of the great composers and the most brilliant fantasias.

The natural result of this overhaste is that such players, by omitting the requisite preparatory studies, always continue imperfect, lose much time, and are at last unable to execute either difficult or easy pieces in a creditable manner.

This is the cause why, although so many talented young persons devote themselves to the piano, we are still not so over and above rich in good players, and why so many with superior abilities and often with enormous industry still remain but mediocre and indifferent performers.

Many other pupils run into the error of attempting to decide on the merits of a composition before they arc able to play it properly. From this it happens that many excellent pieces appear contemptible to them, while the fault lies in their playing them in a stumbling, incorrect and unconnected manner, often coming to a standstill on false and discordant har¬monies, missing the time and making mistakes too many to mention.