Chapter 8: Early Methodology

I question why this far it seems as though every pedagogue mentioned does not allow vertical motion of the wrist. Many state that the wrist is never to move in perpendicular motion, but to always remain parallel. This idea is particularly apparent in the creation of Logier's Chiroplast which he describes: "The rails must be adjusted by means of the screws which will be found in the cheek pieces for that purpose, so as to admit the hands of the pupil passing between them nearly as far as the wrists; being so regulated as to prevent any perpendicular motion of the hand, though sufficiently wide to allow a free horizontal movement when required." Possibly, perpendicular motion was avoided as a finger technique was still mainly enforced, and it is not until later when a whole-arm technique emerges that we see vertical motion of the wrist.

In Logier's description is also the first incidence I have found of teaching by rote. "In this situation he might play the first lesson without knowing a note of music, by merely observing the marks 1, 2, 3, 4, engraved over the fingers, with a x over the thumb, and the corresponding marks over the notes of the lesson." However, the following lessons to come indicated that five-finger patterns are introduced starting in the key of C and then G, a similar progression found in many of todays methods.

Wow. Kalkbrenner makes some harsh remarks the preface of his Methode, when he states "Very often a whole lifetime is scarcely long enough to correct the bad habits contracted during the first three months of lessons." I find it possible, with discipline and dedication, that students who have learned bad habits in the beginning years of their training, can correct these habits. I understand the importance of having a quality training initially, but I find it to be discouraging when told you have no chance of fixing your bad habits that you acquired early on. Here, I think Kalkbrenner underestimates the ability of the human mind and spirit.