individual matter, that after the first period of foundational training,
one who has the desire to become an artist, must work out things for
himself. There should be no straight-laced methods. Only a few general
rules can be laid down, such as will fit most cases. The player who
would rise to any distinction must work out his own salvation.

"In regard to memorizing piano music, it may be said this can be
accomplished in three ways: namely, with the eye, with the ear, and with
the hand. For example: I take the piece and read it through with the
eye, just as I would read a book. I get familiar with the notes in this
way, and see how they look in print. I learn to know them so well that I
have a mental photograph of them, and if necessary could recall any
special measure or phrase so exactly that I could write it. All this
time my mental ear has been hearing those notes, and is familiar with
them. Then the third stage arrives; I must put all this on the keyboard,
my fingers must have their training; impressions must pass from the mind
to the fingers; then all is complete."




III

ERNESTO CONSOLO

MAKING THE PIANO A MUSICAL INSTRUMENT


In a long conversation with Ernesto Consolo, the eminent pianist and
instructor, many points of vital importance to the player and teacher