MUSIC STAND.

New Zealand Graphic, Volume XXX, Issue XXVI, 27 June 1903, Page 1774

MUSIC STAND.

I would strongly advise the student io procure * music-stand, one whieh he can raise to a height which would necessitate his standing in an upright position when practising, as it enables the breath to have freer egress than when practising

in any other position; and promotes that ease in blowing which is necessary if the student wishes to avoid exhaustion. The student should never rely on physical force to bring about the desired result. OPEN-AIR EXERCISE. A student should briskly exert himself for a few hours each day, in the open. If he does so he will find his lung power increased, his heart will be stronger, and his circulation will be better. PRACTICE. During your musical training avoid trying to “run before you know how to walk,” i.e., do not try to play tunes before you have mastered a number of scales and exercises, as the greater the knowledge of scales and exercises in different keys the better performer you will become. Rubenstein’s advice is well worth noticing, for he says, “Practice is only practice when done slowly.” The practising of pieces in a quick tempo, during practice hours, is the greatest hindrance a student can place in his own path. It is also a hindrance which, when it becomes a habit, is almost hopeless of correction. In fact, the knowledge of how to practice is a sure and certain road to success. How often, and how long should I practice? To those students who are desirous of becoming players par excellence I would say, every available opportunity, and to the latter part of the question, do not. at the outset of your career, blow too long at one time, or by so doing you will so tire the nerve tissues of the lips as to render it imperative on your having much longer spells from blowing than you may be inclined to give. Immediately you feel the lips growing tired (or weak) eease blowing. If you do so you will find them recover their elasticity all the quicker, and by short and frequent attempts at mastering the rudimentary portions of your musical education the embouchre is not only forming, but the muscles of the lips are growing stronger, thus enabling the student to take longer spells at his practices. Avoid practising until you become mentally weary, or you will soon acquire a disgust that will infallibly prevent you from achieving success. To overfatigue the muscles of the lips is to spoil the tone—at least for the time being—and some time must elapse before they caa. regain their former elasticity and vigour. If these details are carefully observed the student need not fear the future. Practice should always be pursued systematically, and, having formed a time-table, according to a well defined plan, the student should endeavour to keep to it. No one person can lay down hard and fast rules for the guidance of another in this matter. One hour’s thorough careful practice is worth three hours’ indifferent and thoughtless work. One trait is essential to success, and that is firmness of resolve. Once the mind is made up there should be no turning back. (To be continued.)