Chapter 15: The French School

Cortot's method appears to be one of the most concise and comprehensive. I appreciate his methodical presentation of five basic principles that are then divided into three sub-groups each. The importance of being able to play in all keys is apparent, and adds to the schedule of practicing, allowing 36 days for each chapter.

Phillip emphasizes slow practice to avoid tension. I know this has been addressed previously, but I feel it's importance should not be overlooked. So often we hear fast passages repeated over and over again in the practice room. There is much can be learned from concentrated slow practice, which in the end could provide more successful that repeating fast passages.

At this point while reading the text, a state of confusion came over me. We have been reading about so many successful performers and teachers, who all present a different take on technique. Is there ever an end? Who is right? I guess I just have to live in the comfort that we have all this knowledge that we can combine into our own individual technique. In a similar respect, I like Segonzac's aphorism, "One spends his entire lifetime building his house," meaning that we spend our life perfecting technique.

Debussy seems to be a very interesting persona, and I was hoping this chapter would have included more about him. I appreciate both his individuality and his non-conventional approach to performing and composition. I think the descriptions of his sensitive touch are an integral part in his music and something I will consider when playing his works.