Though the mind of the inventive genius be a mystery that may not fully be explained, its product is within the grasp of the intelligent seeker.  The aesthetic principles of musical construction rest on certain elementary laws governing both the human organism and the phenomena of sound, and may become familiar to any one who is capable of study.  In the same way the established canons of musical expression, observed by the skilful artist, consciously or unconsciously, are traceable to natural causes.  Without realizing the inherent properties of music, as well as its technical possibilities and limitations, we cannot know the art.

The tonal language is one that is not translatable into words.  It is composed of an infinite variety of tone-forms, now sharply contrasted, now gradually blending into one another, all logically connected, all tending to form a perfect whole.  The profusion of harmonic, melodic, dynamic and rhythmic changes it brings forth invests it with a meaning far beyond that of words, a musical meaning.  Every masterpiece of music clothes in tonal form some idea which originated in the composer’s mind.  To the interpreter it is given to invest it with living sound.

Chords and chord combinations all have their individual characteristics.  Some cause satisfaction, for instance, others unrest.  When a chord of the dominant seventh is heard, the educated musician knows that a solution is demanded.  The unspoiled ear and taste instinctively feel something unfinished, and are disturbed if it be not followed by a return to the key chord.  Where the faculties are dormant or petrified, its significance will be unobserved.

The story is told of a young lady whose musical education had been utterly hollow and false, but who, having been overwhelmed with flattery for her voice and her singing, was deluded into a belief that she was destined to shine as a star on the operatic stage.  She consulted the famous basso, Karl Formes, who good-naturedly had her sing for him.  He perceived at once that she possessed neither striking talent nor adequate training.

As a supreme test he struck on the piano a chord of the dominant seventh, and asked the young aspirant for dramatic glory what she thought it meant.  Presuming it to be incumbent upon a prospective prima donna to have uppermost in her mind the grand passion, she replied, in a sentimental tone, “Love!” Promptly Karl Formes sounded the solution to the chord.  “There is your answer,” quoth he.  “I ask a question, and it is thought I speak of love.  Go home, my good girl, and seek some other avocation.  You have a fair voice, but you are tone-deaf.  You can never make a musician.”

A favorite motto of the piano teacher Leschetitzky is, “Think ten times before you play once.”  If this rule were more generally observed we should have better interpreters of music.  A great composition should completely occupy mind and heart before it is attacked by fingers or voice.  In that case it would be analyzed as to its form, its tonal structure, its harmonic relations, its phrasing and rhythms, and its musical intention would become luminous.  The interpreter would understand where accents and other indications of expression should occur and why they should so occur, and would be able, in however feeble a way, to find and reveal the true heart music that lies hidden in the notes.