o, with
the octaves, begin slowly and increase in power and fire."

Numerous other compositions were analyzed, but the ones already quoted
stand out in memory, and give some idea of Mr. Sherwood's manner of
teaching.

DR. WILLIAM MASON

Years after the foregoing experiences I had the privilege of doing some
work with the dean of all American piano masters, Dr. William Mason. I
had spent several years in European study, with Scharwenka, Klindworth
and von Buelow, and had returned to my own land to join its teaching and
playing force. My time soon became so largely occupied with teaching
that I feared my playing would be entirely pushed to the wall unless I
were under the guidance of some master. With this thought in mind, I
presented myself to Dr. Mason.

"You have studied with Sherwood," he began. "He has excellent ideas of
touch and technic. Some of these ideas came from me, though I don't wish
to claim too much in the matter. Sherwood has the true piano touch. Very
few pianists have it; Klindworth did not have it, nor von Buelow, nor
even Liszt, entirely, for he as well as the others, sought for a more
orchestral manner of playing. Sherwood has this touch; Tausig had it,
and de Pachmann and Rubinstein most of all. It is not taught in Germany
as it should be. The best American teachers are far ahead in this
respect; in a few years the Europeans will come to us to learn these
things." (This was Sherwood's idea also.)

The first composition played to Dr. Mason was the G minor Rhapsodie of
Brahms, with which, as it happened, he was unfamiliar. I played the
entire piece through without interruption, and he seemed pleased.

"You have a beautiful tone--a really beautiful tone, and you play very
artistically; much of this must be natural to you, you could not have
acquired it. You also have an excellently trained hand. I may say that
in my forty years of teaching I have never had any one come to me with a
better position, or more natural and normal condition. Now, what do you
think I can do for you?"

I explained that I needed some new ideas in my teaching, and wished to
keep up my own practise.

"I will explain my theories to you, and we will then study some
compositions together.

"There is everything in knowing how to practise, but it is something
that cannot be taught. I played in public ten years before I found out
the secret.

"Practise slowly and in sections. Not only must all the notes be there,
they m