the principles of piano playing, who does not know how to handle herself
or the keyboard, it is absolutely necessary to stop everything and get
ready to play. If you attempt even a simple sonata with no legato touch,
no idea of chord or scale playing, you can not make the piece sound like
anything. It is like a painter trying to paint without brushes, or an
artist attempting to make a pen and ink drawing with a blunt lead
pencil; to do good work you must have the tools to work with.

"For application of all principles, the studies of Czerny, Op. 299, 740,
and others, offer unequaled opportunity. They are simple, direct, and
give the student a chance for undivided attention to every position
taken and to every motion made.

"What happens afterward is altogether according to the individual
characteristics of the student. How to recognize these and deal with
them to the best advantage is the interesting task of my great master
(and those who try to follow in his steps)--the man of keenest
intelligence, of profound learning and experience. To learn this lesson
from him has been my greatest aim, and to see him at work, as it has
been my privilege to do for several summers, has been of the greatest
influence and inspiration in my own work.

"My chief endeavor is to create a desire for good musicianship. To this
end I insist upon the study of theory, harmony, ear-training and
analysis. In the piano lessons I do not have sufficient time to teach
these things. I have assistant teachers who help me with these subjects
and also with the technical training. Once a month during the season, my
assistant teachers bring their pupils to play for me, and we have a
class in piano teaching. There are sometimes eighteen or twenty students
who come to a class. I can in this way supervise all the work done, and