effects you fancy you are making; you must deliver everything much more
clearly: distinctness of utterance is of prime importance.'' Then he
shows how clearness and distinctness may be acquired. The fingers must
be rendered firm, with no giving in at the nail joint. A technical
exercise which he gives, and which I also use in my teaching, trains the
fingers in up and down movements, while the wrist is held very low and
pressed against the keyboard. At first simple five-finger forms are
used; when the hand has become accustomed to this tonic, some of the
Czerny Op. 740 can be played, with the hand in this position. Great care
should be taken when using this principle, or lameness will result. A
low seat at the piano is a necessity for this practise; sitting low is
an aid to weight playing: we all know how low Paderewski himself sits at
the instrument.

"You ask what technical material is employed. Czerny, Op. 740; not
necessarily the entire opus; three books are considered sufficient. Also
Clementi's _Gradus_. Of course scales must be carefully studied, with
various accents, rhythms and tonal dynamics; arpeggios also. Many
arpeggio forms of value may be culled from compositions.

"There are, as we all know, certain fundamental principles that underlie
all correct piano study, though various masters may employ different
ways and means to exemplify these fundamentals. Paderewski studied with
Leschetizky and inculcates the principles taught by that master, with
this difference, that he adapts his instruction to the physique and
mentality of the student; whereas the Vorbereiters of Leschetizky
prepare all pupils along the same lines, making them go through a
similar routine, which may not in every instance be necessary.