ases. The player who
would rise to any distinction must work out his own salvation.

"In regard to memorizing piano music, it may be said this can be
accomplished in three ways: namely, with the eye, with the ear, and with
the hand. For example: I take the piece and read it through with the
eye, just as I would read a book. I get familiar with the notes in this
way, and see how they look in print. I learn to know them so well that I
have a mental photograph of them, and if necessary could recall any
special measure or phrase so exactly that I could write it. All this
time my mental ear has been hearing those notes, and is familiar with
them. Then the third stage arrives; I must put all this on the keyboard,
my fingers must have their training; impressions must pass from the mind
to the fingers; then all is complete."

III

ERNESTO CONSOLO

MAKING THE PIANO A MUSICAL INSTRUMENT

In a long conversation with Ernesto Consolo, the eminent pianist and
instructor, many points of vital importance to the player and teacher
were touched upon. Among other things Mr. Consolo said:

"It is absolutely necessary that the piano teacher should take his
profession very seriously. In my opinion there is most excellent
instruction to be secured right here in America, with such teachers as
are willing to take their work seriously. The time is not far away, I
think, when America will enjoy a very prominent position in the matter
of musical instruction, and perhaps lead the world in musical
advantages. The time is not here just yet, but it is surely coming. You
are still young in this country, though you are wonderfully progressive.

"If I have spoken of the serious aims of many teachers of piano, I
cannot say as much for the students: they are often superficial and want
to go too quickly; they are apt to be in a hurry and want to make a
show, without being willing to spend the necessary years on preparation.
No art can be hurried. Students of painting, sculpture, architecture or
music must all learn the technique of their art; they must all learn to
go deep into the mysteries and master technic as the means to the end,
and no one requires exhaustive preparation more than the executive
musician. The person who would fence, box or play baseball must know the
technic of these things; how much more must the pianist be master of the
technique of his instrument if he would bring out the best results.

"At the very bottom and heart