Elsewhere we shall have some definite tone lessons for the purpose of making us familiar with the tones about us. But no rule can exceed in importance this one, never to make any music unthinkingly.

By care and practice we soon become so skilful as to notice tones with the readiness we notice colors in the garden. The sense of tone must be as strong in us as is the sense of color. Then we shall be able to tell differences of tones which are nearly the same, as readily as we can now tell two varieties of yellow, for instance. A bit of perseverance in this and the beauties even of common sounds shall be revealed to us.

CHAPTER V.

LISTENING.

"You must listen as if listening were your life."--_Phillips Brooks._[14]

In our last Talk we learned that it was quite possible for sounds to be about us and yet we not hear them. Sometimes, as in the case of Tyndall's companion, it is because we are not capable; at other times, as when the clock strikes and we do not hear, it is because we are occupied with other things. It is from this latter fact--being occupied with other things--that we can learn what listening is.

Listening is not being occupied with other things. It is being completely attentive to what we are expected to hear.

The condition of being occupied with other thoughts when we should be listening is known as inattention. To listen with full attention, all other things being entirely absent from the mind, is one form of concentration.

Inattention is a destroyer. It divides our power between two or more things when it should be directed upon a single thing. Concentration gives us greater and greater mind-power. If you will look in the dictionary to find what concentration means (you should be good friends with the dictionary) you will find it is made up of _con_[15]

meaning with, and _centrum_, a center, "with a center," or "to come to a center." If you hold a magnifying-gla.s.s between your hand and the sun you will find that at a certain distance the sunlight is in a circle. By changing the distance with delicacy you can diminish the circle to almost a point,--you make the light _come to a center_. When the circle of light is large, no particular effect is noted by the hand. When, however, the circle is as small as it can be made you feel a sensation of warmth which, if continued long enough, will really burn the hand. That small circle is the sunlight _in concentration_.

The rays of sunlight, instead of being scattered, are centered. They burn the hand because they are full of power--powerful.

By way of example: Let the different rays stand for inattention and the tiny circle of light for concentration. The former has little or no power; the latter is full of power. This very well ill.u.s.trates what happens, both when our thoughts are scattered over a large area, and when they are brought together--concentrated--in a small circle. The first listening indeed which should claim our attention is not tone-listening, but listening to what is said to us. No one under a good teacher ever learns well who is not attentive and obedient. And then _listening_ and _doing_ are inseparably joined. Tone-listening makes us self-critical and observant, and we are a.s.sured by men of science that unless we become good observers in our early years, it is later impossible for us.[16]

In the previous Talk we spoke about listening to all kinds of sounds, particularly those out-of-doors. In this Talk we shall speak only of real music-listening. You know, now, that music born out of the heart is the thought of a good man. Of course, beautiful thoughts of any kind should be listened to not only with attention, but with reverence. Reverence is the tribute which the thoughtful listener pays to the music of a man who has expressed himself beautifully in tone.

This at once reveals to us that we should listen to what is great for the purpose of getting ideals. We hear what we hope to attain. It is said of the violinist, Pierre Baillot, that when only ten years of age he heard the playing of Viotti, and though he did not hear it again for twenty years the performance ever remained in his mind as an ideal to be realized in his studies, and he worked to attain it.

The pupils of the great Viennese teacher of the piano, Theodor Leschetizky, say he asks no question more frequently than "Can you not hear?" It is not only difficult to listen to ourselves, but listening is one thing and decidedly a superior thing, while hearing is another and equally inferior thing. And it shows us, when we think of it, that no self-criticism is possible until we forget all things else and listen to what we are doing and listen with concentration. It now becomes clear to us that no one becomes an intelligent musician who is not skilled in tone sense, in listening, and having thoughts about what is heard.

We may read again from the excellent rules of Robert Schumann:

"Frequently sing in choruses, especially the middle parts; this will help to make you musical."

Out of this we learn to try to hear more than the melody, to try sometimes not to think of the melody, but to listen only to that which accompanies it. When, in school, you sing in two and three parts, notice how one is inclined always to sing the soprano. The melody pulls us away from another part if we are not concentrated upon our part. Yet notice how beautifully musical the lower parts are. Listen intently to them whatever part you sing.

It seems in music that we learn to listen in two directions. First, by training the attention merely to follow prominent sounds and to be conscious of all of them; then, later, we do not need to think so much of the prominent melody but we strive to hear the accompanying parts.

These are the melodies which are somewhat concealed by the princ.i.p.al one; not truly concealed either, for they are plain enough if we will listen. They make one think of flowers hidden in the gra.s.s and foliage. They are none the less beautiful though they are concealed; for the sunlight seeks them out and makes them blossom.

We find hidden melodies in all good music because it is the character of good music to have interesting and beautiful melodic thought everywhere. There are never meaningless tones allowed. Every sound says something and is needed. It is curious that in our playing the moment we put our thoughts upon any tone or voice part with the desire to hear it, it comes out at once as plainly as if it was the highest melody. That ill.u.s.trates the power of thought concentrated upon even a hidden thing. You know how in Bach even the piano works move as if all parts were to be sung by voices. It reminds one of conversation; of the story, of the question and answer, of the merry chat in a pleasant company. Some bits of sentence are tripping and full of laughter,[17]

others grave and majestic,[18] others have wonderful dignity of heart and mind.[19]

Such qualities give music interest and meaning in every part. It will not take you long to discover that it is just the absence of these qualities that makes other music common.

The melody is not sustained by anything particularly well worth listening to. One might say that good music is like the foliage of the garden, every leaf and petal variously yet finely formed, and all combined to make a beautiful whole.

When you have learned carefully to follow the accompaniment of a melody, try to follow the single voice parts in the chorus, particularly the Ba.s.s, Tenor, and Alto. And when you go to orchestral concerts learn early to follow special instruments like the clarinet, the oboe, the drum.

Especially try to follow the lower strings, the viola, the 'cello, and the ba.s.s. They are strongly characteristic. You will learn their peculiar qualities only by giving them special and concentrated thought. You will now see that acute and careful listening has its definite ways and purposes. Here they are:

I. Listening comes from concentration.

II. When listening to great music it must be with reverence as well as with attention.

III. We must listen for ideals.

IV. We must listen in order to be self-critical.

V. Constant listening to true music reveals that there is never a tone used unless it has a meaning.

And besides all this we must think that among those who listen to us there may be some one who has learned this careful concentrated way.

Then we shall have it ever in mind to "play as if in the presence of a master."[20]

CHAPTER VI.

THINKING IN TONE.

"The G.o.ds for labor sell us all good things."--_Epicharmus_.[21]

Perhaps you have some doubt as to exactly what is meant by music-thinking. Being somewhat acquainted with composers and with music, the thought may here come to you that all the music we hear in the world must have been made by somebody--by many somebodies, in fact. They have had to sit down, and forgetting all things else, listen intently to the music-thought which fills the mind. If you will sit quietly by yourself you will discover that you can easily think words and sentences and really hear them in the mind without p.r.o.nouncing anything. In quite the same way the composer sits and hears music, tone by tone, and as clearly as if it were played by a piano or an orchestra. And to him the tones have a clear meaning, just as words have a clear meaning to us. Naturally, one can see that there could be no other way. Unless the composer can think out everything exactly there could be no music, for music must be written, and one can only write what one thinks. So at this point the thought to remember is this: Music must exist in some one's mind before others can have it to hear and enjoy.

In like manner--just the same manner, in fact--the painter is one who thinks pictures; the sculptor, one who thinks statues; the architect, one who thinks buildings. They think these things just as you think words; and as you tell your thoughts in spoken words, so they tell their thoughts in printed music, in painted pictures, in chiseled statues, and in erected buildings. Now, from all this it should be clear to you that there can be nothing which has not first been thought of by some one. You _think_ the door must be closed and you close it; you _think_ you must know the time and you look at the clock; you _think_ the one hand should play more loudly than the other and you try to do it.

Power to get things and to do things comes to us rapidly only in the fairy-tales. In the real, beautiful, healthy world in which we live we have to work hard and honestly for the power either to get things or to do things. By faithful labor must we win what we want. What we do not labor for we do not get. That is a condition of things so simple that a child can readily understand it. But all, children and their elders, are apt to forget it. In the life of every great man there is a story different from that of every other great man, _but in every one of them_ this truth about laboring for the power one has is found.

In our Talk on Listening, it was said that the sounds we hear around us are the more easily understood if we first become familiar with the melody which is called the major scale. But in order to think music it is necessary to know it--in fact, music-thinking is impossible without it. As it is no trouble to learn the scale, all of you should get it fixed in the mind quickly and securely.

It is now possible for you to hear the scale without singing its tones aloud. Listen and see if that is not so! Now think of the melodies you know, the songs you sing, the pieces you play. You can sing them quite loudly (_can_ you sing them?) or in a medium tone, or you can hum them softly as if to yourself; or further yet, you can think them without making the faintest sound, and every tone will be as plain as when you sang it the loudest. Here, I can tell you that Beethoven wrote many of his greatest works when he was so deaf that he could not hear the music he made. Hence, he must have been able to write it out of his thought just as he wanted it to sound. When you understand these steps and ways you will then know about the beginning of music-thinking.

Let us inquire in this Talk what the piano has to do in our music-thinking. What relation is there between the music in the mind and the tones produced by the piano? It seems really as if the piano were a photographic camera, making for us a picture of what we have written,--a camera so subtle indeed, that it pictures not things we can see and touch, but invisible things which exist only within us.

But faithful as the piano is in this, it may become the means of doing us much injury. We may get into the habit of trusting the piano to think for us, of making it do so, in fact. Instead of looking carefully through the pages of our new music, reading and understanding it with the mind, we run to the piano and with such playing-skill as we have we sit down and use our hands instead of our minds. Now a great many do that, young and old. But the only people who have a chance to conceive their music rightly are the young; the old, if they have not already learned to do it, never can. That is a law which cannot be changed.

We have talked about listening so much that it should now be a settled habit in us. If it is we are learning every day a little about tones, their qualities and character. And we do this not alone by hearing the tones, but by giving great heed to them. Let us now remember this: listening is not of the ears but of the thoughts. It is thought _concentrated_ upon hearing. The more this habit of tone-listening goes on in us, the more power we shall get out of our ability to read music. All these things help one another. We shall soon begin to discover that we not only have thoughts about sounding-tones, but about printed tones. This comes more as our knowledge of the scale increases.

We can now learn one of the greatest and one of the most wonderful truths of science: _Great knowledge of anything comes from never ceasing to study the first steps._

The major scale, as we first learn it, seems a perfectly simple thing.

But if we think of it all our lives we shall never discover the wonders there are in it. Hence, three simple rules for us to follow in learning to think music are these:

1. To listen to all tones.

2. Never to stop studying the major scale.

3. To become accustomed to hear tones within.