ery short
time will suffice to put the hand in trim; some rapid, brilliant
arpeggios, or an etude with much finger work may be all that is
necessary.

"The player gains constantly in strength and technical control while
studying pieces, provided correct methods are pursued. Every piece is
first of all a study in technic. The foundation must be rightly laid;
the principles can then be applied to etude and piece."

(5) What do you consider the most vital technical points?

"That is a difficult question, involving everything about piano playing.
There are the scales of all kinds, in single and double notes. Arpeggios
are of great importance, because, in one form or another, they
constantly occur. Octaves, chords, pedaling, and so on."

"The trill, too," I suggested.

"Yes, the trill; but, after all, the trill is a somewhat individual
matter. Some players seem to have it naturally, or have very little
trouble with it; others always have more or less difficulty. They do not
seem able to play a rapid, even trill. Many are unable to finish it off
deftly and artistically. They can trill for a certain number of
repetitions; when they become accustomed to the monotonous repetition it
is not so easy to go into the ending without a break."

(6) What means do you advise to secure velocity?

"I make the same answer to this question that I made to the first--none.
I never work for velocity, nor do I work _up_ velocity. That is a
matter that generally takes care of itself. If you know the piece
absolutely, know what it means and the effects you want to make, there
will be little difficulty in getting over the keys at the tempo
required. Of course this does not apply to the pupil who is playing
wrong, with weak fingers, uncertain touch and all the rest of the
accompanying faults. I grant that these faults may not be so apparent in
a piece of slow tempo. A pupil may be able to get through Handel's
Largo, for instance; though his fingers are uncertain he can make the
theme sound half-way respectable, while a piece in rapid tempo will be
quite beyond him. The faults were in the Largo just the same, but they
did not show. Rapid music reveals them at once. Certain composers
require almost a perfect technical equipment in order to render their
music with adequate effect. Mozart is one of these. Much of his music
looks simple, and is really quite easy to read; but to play it as it
should be played is another thing entirely. I seldom gi