The general plan of this method aims at a systematic rotation of playing fundamentals using new material in each case. Consequently, eight or ten exercises are considered as a complete lesson, including exercises for tonedevelopment, articulation, mechanism, phrasing, ensemble playing, etc. I believe that this principle is sounder pedagogically than that of presenting many exercises of the same type in succession, the superficial attractiveness ofthe latter notwithstanding.
Every exercise or melody has been introduced for a purpose, and in most cases that purpose has been stated. In any event, however, the teacher should take care that the student knows why theexercisewas written. A small amount of practice with definite purpose is better than a great amount of ‘wandering’ on the instrument.
The instrument range in this book is moderate. The few exercises that exceed the playing limit of aparticular student may be omitted, as the material for each new problem is adequate.
The pupil-teacher duets can be played by two students, as the range of the teacher’s part is not prohibitive.
Posture, Holding theinstrument, breathing, production of tone, technical development, the language of music, and care of the instrument are topics treated in this book.
