dus,' though
these seem rather old-fashioned now.

"For more advanced pupils I find Harberbier, Op. 53 especially
applicable; there is beautiful work in them. Kessler, Op. 20, and the
Moszkowski studies, Op. 72, have splendid material for the advanced
player, and prepare for Henselt, Rubinstein, Chopin and Liszt etudes. I
find that studies are valuable for application of technical principles,
for reacting purposes, and for the cultivation of all the refinements of
playing. Some teachers believe in applying the technic directly to
pieces, and use almost no studies; but I think a study is often more
valuable than a piece, because a definite technical principle is treated
in every kind of way. Though I do not require studies to be memorized,
they must be played with all the finish of a piece, if the pupil is to
derive the maximum of benefit from them.

BOOKS THAT ARE HELPFUL

"As aids to my studies in the art of teaching, several books have been
most helpful. Among these are two volumes by Dr. Herman H. Home, _The
Philosophy of Education_, and _The Psychology of Education_. Another
book, from which I have profited much is William James' _Talks to
Teachers on Psychology_. Every teacher should possess it.

"You ask what method I pursue with new pupils who have played a great
deal of music but with little idea of correct principles of piano study.
Let us take, for instance, one who has had lessons for years but is in
ignorance of first principles. Arms and wrists are stiff, hands and
fingers held in cramped position; no freedom anywhere. My first move is
to have the pupil stand and learn to relax arms, shoulders and body;
then learn to breathe. But relaxation, even at first, is not the only
thing; after devitalization comes organization, firmness and
solidity--in the right places. It must be understood at the very
beginning that piano playing is far more than sitting before the
instrument working the fingers six or seven hours a day. The mechanical
side is only preliminary. Some one has said that the factors in playing
are a trinity of H's--head, hand and heart. I try at once to awaken
thought, to give a wider outlook, to show that piano playing is the
expression, through the medium of tone, of all that the poet, painter
and philosopher are endeavoring to show through other means: to this
end I endeavor to stimulate interest in the wonders of the visible
universe, the intellectual achievements of men and the deep things