studies with Harold Bauer revealed him to be a deep musical thinker and
a remarkable teacher of the meaning of music itself.

"In my teaching I follow many of the ideas of Leschetizky, modified and
worked out in the manner which I have found most useful to my own
technic and to that of my pupils. I have formulated a method of my own,
based on the principles which form a dependable foundation to build the
future structure upon. Each pupil at the outset is furnished with a
blank book, in which are written the exercises thus developed as adapted
to individual requirements.


FOUNDATIONAL EXERCISES

"We begin with table work. I use about ten different exercises which
embody, as it were, in a nutshell, the principles of piano playing. The
hand is first formed in an arched position, with curved fingers, and
solidified. The thumb has to be taught to move properly, for many people
have never learned to control it at all.

"With the hand in firm, solid position, and the arm hanging freely from
the shoulder, I begin to use combined arm and wrist movements, aiming to
get the weight of the arm as well as its energy at the complete disposal
of the finger tip. Each finger in turn is held firmly in a curved
position and played with a rotary movement of arm and wrist. When this
can be done we next learn hand action at the wrist from which results
the staccato touch. In this form of hand staccato there is an element of
percussion, as you see, but this element gives directness and precision
to the staccato touch, which in my opinion are necessary. After this we
come to finger action itself. This principle is taken up thoroughly,