I have just read a very interesting book entitled, How to Play by Ear by M. Emett Wilson. It is directed toward teaching the novice to enjoy and gain facility in playing the piano, although the principles could well be applied to the playing of any instrument. Mr. Wilson does this by discarding as unessential most of the technical impedimenta that usually confront the aspiring student who wishes to play the piano for relaxation, recreation, and a little individual expression.

In an ingenious manner the author avoids the use of any printed music or chart of the piano keyboard. He does this, for the most part, by referring primarily to songs where the melody, at least, is familiar. However, Mr. Wilson is not satisfied with giving only procedures whereby someone will be able to "pick out" melodies with one finger. He gradually leads students into the open sesame of using basic harmonies. Finally, his "Gradus ad Parnassus" by ear directs the dili­gent student to the musical Olympus of playing a Bach invention.

The author approaches his problem with missionary zeal. He rightly points out that the intricacies of a musical score have been the primary barrier for many people gaining sufficient skill at the piano to use it as a medium of enjoyable expression. We thoroughly agree with him that it is undoubt­edly the major factor for the high mortality rate of young people dropping their study of the piano after auspicious beginnings. We say "Amen" to the claim that playing by ear is a more musical approach to piano study than a meticulous, rigid adherence to the printed page.

In his enthusiasm, he almost gives the impression that playing from the printed page is harmful. However, we feel sure that he would condone the use of the score at the proper time and with proper balance in conjunction with playing by ear. But like the champion for a spiritual cause, Mr. Wilson extols the virtues of his theme to the disparagement of all other approaches to playing the piano.

His zealous opinions have probably been formed as a reaction from the old-age belief that the only approach to playing the piano was by and through the notes. The mere thought of playing by ear was frowned upon universally by piano teachers. The Puritanical dictum of "stick to the notes" has very likely been an influential factor in the piano losing its place as the predominant and most prized piece of furniture in the American home. As a young student of the piano, we can remember our feelings of guilt when we succumbed to the temptation of picking out popular and folk tunes by ear and then harmonizing them. So we hail a champion who points out the absurdities and falsities of the outmoded premises and procedures in the teaching of the piano.

The author points out in his preface that, to varying degrees, everyone can play by ear. However, he is wise to emphasize that it is not a gift from heaven, but that this approach to piano playing as well as any other approach requires diligent practice. The difference lies in the fact that such practice is more enjoyable and more musical, because music, being primarily an art of tone, needs continuous attention to the training of the ear. It is playing by ear that develops assurance on the part of the performer and frees him from the bondage of those dictatorial notes.

According to the author, in approaching piano playing by ear, one should avoid referring to the printed musical page even though one can read notes. Such practice is defeating the very purpose of the approach. One may stumble and stagger through a tune, but continual experimentation sharpens the ear, and dexterity of the fingers will follow.

Now the approach is through listening. Take the time to listen to your favorite songs and recordings. Then try to sing or whistle the melodies. The ability to do this is the first step, and a repertoire of tunes learned in this manner will serve as a storehouse of pieces to be played by ear at the piano.

Where shall we begin? "Anywhere," says Mr. Wilson. Mary Had a Little Lamb is as good as any tune. A description of the piano keyboard follows after this pronouncement with a table of the lette 3 used in this song. However, there is a caution not to depend upon these letters because, strictly speaking, this is not playing by ear.

The author devotes little attention to finger technique, but he does give some useful suggestions concerning hand posi­tion and the use of the fingers. To encourage proper use of the fingers he recommends the playing of a number of tunes using only five consecutive tones before trying melodies with a more extended range.

The student is encouraged to play the tunes that he knows over and over again and in a variety of ways: use the left hand as well as the right; play the tunes with both hands together one octave apart; play them starting on different pitches or, in other words, in different keys.

After considerable practice in playing tunes, the student is led to an understanding of scale construction, whole steps and half steps, flats and sharps, keys, and the use of correct fingering in playing scales. Mr. Wilson contends that there is no aversion on the part of the novice to playing scales, except when it is tedious drill through the reading of the notes. Figuring them out by ear is fun.

Progress moves rapidly to the question of modulation and to that of chording. Here is where the real fun begins. The basic chords are presented with side trips to a discussion of cadences, discords, up beats, choice of keys, and absolute pitch. However, it all boils down to the dictum; when in doubt use the ear.

In Chapter 5 there is a more elaborate discussion of har­mony, including a treatise on the qualities and effects of the different triads. One pungent factor is pointed out that the pianist who plays by ear need not worry about the various spellings of those troublesome diminished chords. Leave this worry to the note-reader. The minor mode is not neglected but is discussed thoroughly, but succinctly, in Chapter 6.

At this point, Mr. Wilson introduces an idea that I have never seen treated in any method devoted to playing the piano by ear. Usually, playing by ear is limited to a melody with some form of harmonic accompaniment. The author pays tribute to the superiority of polyphonic music as written by the great composers. He follows this statement with a lengthy and thorough discussion of playing various types of polyphonic music by ear, including the. round, canon, obbligato, descant, and leading to a detailed description of playing a Bach invention. For me, this is the piece de resis­tance of the book and the player who can do it is certainly a long way towards his musical goal of playing by ear. From this high point the book tapers off to a discussion of many useful aspects of harmony; namely, intervals, extended chords rhythm, and form.

It is rather strange that the author postpones until Chapter 11 a discussion of such an important phase of music as rhythm. However, he explains that the simple rhythms of familiar tunes cause little trouble with the ear approach, and a de­tailed analysis is necessary only when trying to play selec­tions with more complicated rhythms.

The latter chapters are devoted to matters of interpreta­tion, including the use of the pedal and miscellaneous ideas which the author feels relate to his subject, such as a discussion on "Reading at Sight," "Advice to Various Instruments," "Advice to Teachers," and "Memorization and Stage Fright."

The author points out that the chief criticism of the approach to playing the piano by ear is based on the conten­tion that students using this approach never learn to read music with facility, even when they begin the study of notes. He says that facts prove that the opposite result is true. The note-reader tends to play note by note, while the approach through the ear nurtures a grasp of the entire phrase and clusters of notes. When this skill is transferred to the visual sense, it will facilitate faster reading of music. We are in­clined to agree with him.

The author believes that it is time for teachers of piano to take stock and re-examine their aims and procedures. Why is it so difficult to keep young people interested in studying the piano? The answer is to make it an enjoyable musical adventure and not limit it to dull routine practice. Playing by ear is an approach which is proving successful for those teachers who dare to try it.

Playing by ear need not be limited to haphazard doodling by some adolescent on some popular tune of the day. This book presents a logical approach which can direct this type of study to real artistic endeavor. Those teachers and stu­dents who use Mr. Wilson's book will not only have a guide to an enjoyable experience at the keyboard, but also, will have a source book of general information on music which will enhance listening to all types of music.

Harry Robert Wilson Professor of Music Education, Teachers College, Columbia University

Are You Ready To Move Onto The Next Lesson? Click Here