iving example.
Through imitation one learns rapidly and surely, until one reaches the
point where the wings of one's own individuality begin to sprout.

ABOUT MEMORIZING

"On the subject of memorizing who can lay down rules for this
inexplicable mental process, which will hold good for every one? For
myself, I hear the notes mentally, and know their position on the
keyboard. In actual performance much must be left to finger memory, but
one must actually have the notes in his mind as well as in his fingers.
Before a concert I go over all my program mentally, and find this an
excellent method of practise when traveling from one city to another. To
those who study with me I say, you must try various methods of
memorizing; there is no universal way; each must find out by experiment
which is most suited to his individual case.

"With some pianists visual memory of the printed page plays the
principal role in memorizing; with others visual memory of the notes on
the keyboard; with still others ear-memory, or memory of the harmonic
progressions. I believe in making the pupil familiar with all these
different ways, so that he may find out which one is most helpful to
him.

"For pupils with weak hands and arms I recommend simple gymnastic
exercises to be done morning and evening. Physical strength is a very
necessary essential for a brilliant technic; the student who would
accomplish big things must possess it in order to succeed.

KEEPING TECHNIC IN REPAIR

"The only way to keep one's technic in repair is to be constantly
working at it. Technic is the mechanical part of music-making; to keep
it in good working order one must be constantly tinkering with it, just
as the engine driver tinkers with his locomotive or the chauffeur with
his automobile. In the course of his technical study every intelligent
pupil will recognize certain exercises which are particularly important
for the mechanical well-being of his playing; from these exercises he
will plan his daily schedule of technical practise.

"In order to keep a large repertoire going at the same time, one must
have a weekly practise plan, which will allow for a frequent repetition
of the pieces. Those pieces which have been recently added to one's list
will require more frequent repetition, while those which have been
played for a longer period may be left for an occasional brushing up.
Frequent playing before others, either publicly or privately, is above
everyth