h to the interrogator were the very essence of the
principles of piano technic and piano mastery. It is not a light task
for an artist to sit down and analyze his own methods. Some found it
almost impossible to put into language their ideas on these subjects.
They had so long been concerned with the highest themes of
interpretation that they hardly knew how the technical effects were
produced, nor could they put the manner of making them into words. They
could only say, with Rubinstein, "I do it this way," leaving the
questioner to divine how and then to give an account of it. However,
with questions leading up to the points I was anxious to secure light
upon, much information was elicited.

One principle was ever before me, namely the Truth. I desired to find
out the truth about each subject and then endeavored to set down what
was said, expressed in the way I felt would convey the most exact
meaning. In considering the vital points or heads under which to group
the subjects to be considered, the following seem to cover the ground
pretty thoroughly:

1. Artistic piano technic; how acquired and retained.

2. How to practise.

3. How to memorize.

4. Rhythm and tone color in piano playing.

SECTION II

_Hand Position, Finger Action, and Artistic Touch_

WHAT TECHNIC INCLUDES

When we listen to a piano recital by a world-famous artist, we think--if
we are musicians--primarily of the interpretation of the compositions
under consideration. That the pianist has a perfect technic almost goes
without saying. He must have such a technic to win recognition as an
artist. He would not be an artist without a great technic, without a
complete command over the resources of the instrument and over himself.

Let us use the word technic in its large sense, the sense which includes
all that pertains to the executive side of piano playing. It is in this
significance that Harold Bauer calls technic "an art in itself." Mme.
Bloomfield Zeisler says: "Piano technic includes so much! Everything
goes into it: arithmetic, grammar, diction, language study, poetry,
history and painting. In the first stages there are rules to be learned,
just as in any other study. I must know the laws of rhythm and meter to
be able to punctuate musical phrases and periods. Pupils who have long
since passed the arithmetic stage have evidently forgotten all about
fractions and division, for they do not seem to grasp the time values of
notes an