the harmonics are apt to grow shrill and lose in clearness. The majority
of students have trouble with their harmonics, because they do not
practice them in this way. Of course the quality of the harmonics
produced varies with the quality of the strings that produce them. First
class strings are an absolute necessity for the production of pure
harmonics. Yet in the case of the artist, he himself is held
responsible, and not his strings.

"Octaves? Occasionally, as in Auer's transcript of Beethoven's _Dance of
the Dervishes_, or in the closing section of the Ernst Concerto, when
they are used to obtain a certain weird effect, they sound well. But
ordinarily, if cleanly played, they sound like one-note successions. In
the examples mentioned, the so-called 'fingered octaves,' which are very
difficult, are employed. Ordinary octaves are not so troublesome. After
all, in octave playing we simply double the notes for the purpose of
making them more powerful.

"As regards the playing of tenths, it seems to me that the interval
always sounds constrained, and hardly ever euphonious enough to justify
its difficulty, especially in rapid passages. Yet Paganini used this
awkward interval very freely in his compositions, and one of his
'Caprices' is a variation in tenths, which should be played more often
than it is, as it is very effective. In this connection change of
position, which I have already touched on with regard to scale playing,
should be so smooth that it escapes notice. Among special effects the
_glissando_ is really beautiful when properly done. And this calls for
judgment. It might be added, though, that the _glissando_ is an effect
which should not be overdone. The _portamento_--gliding from one note to
another--is also a lovely effect. Its proper and timely application
calls for good judgment and sound musical taste.

A SPANISH VIOLIN

"I usually play a 'Strad,' but very often turn to my beautiful
'Guillami,'" said Mr. Brown when asked about his violins. "It is an old
Spanish violin, made in Barcelona, in 1728, with a tone that has a
distinct Stradivarius character. In appearance it closely resembles a
Guadagnini, and has often been taken for one. When the dealer of whom I
bought it first showed it to me it was complete--but in four distinct
pieces! Kubelik, who was in Budapest at the time, heard of it and wanted
to buy it; but the dealer, as was only right, did not forget that my
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