Studying the Rhythm
"A third point in analyzing a new piece might be analyzing the rhythm. It is one thing to understand or to comprehend a rhythm and another to preserve it in actual playing. Rhythm depends upon the arrangement of notes and accents in one or two measures which give a characteristic swing to the entire composition. Rhythm is an altar upon which many idols are smashed. Sometimes one is inclined to regard rhythm as a kind of sacred gift. Whatever it may be, it is certainly most difficult to acquire or better to absorb. A good rhythm indicates a finely balanced musician—one who knows how and one who has perfect self-control. All the book study in the world will not develop it. It is a knack which seems to come intuitively or 'all at once' when it does come. My meaning is clear to anyone who has struggled with the problem of playing two notes against three, for at times it seems impossible, but in the twinkling of an eye the conflicting rhythms apparently jump into place, and thereafter the pupil has little difficulty with them.
"Rhythmic swing is different from rhythm, but is allied to it as it is allied to tempo. To get the swing—the impelling force—the student must have played many pieces which have a tendency to develop this swing. The big waltzes of Moszkowski are fine for this. If one of Leschetizky's pupils had difficulty with rhythm he almost invariably advised them to go to hear the concerts of that king of rhythm and dance, Eduard Strauss. Dances are invaluable in developing this sense of rhythm—swift-moving dances like the bolero and the tarantella are especially helpful. Certain pieces demand a particularly strict observance of the rhythm, as does the Opus 42 of Chopin, in which the left hand must adhere very strictly to the Valse rhythm.