first with one finger, then with two, three, four, and five--in all
possible combinations. In this way we come down from the large free-arm
movements to the smaller finger movements; from the 'general to the
particular,' instead of working from the smaller to the larger. I find
it most necessary to establish relaxation first, then strengthen and
build up the hand, before finger action to any extent is used. When
these foundational points have been acquired, the trill, scales,
arpeggios, chords, octaves and double notes follow in due course. At the
same time the rhythmic sense is developed, all varieties of touch and
dynamics introduced, and harmonic and structural analysis dwelt upon.


USE OF STUDIES

"Above the third or fourth grade I make frequent use of studies,
selecting them from various books. Duvernoy, Op. 120; Berens, Op. 61;
Czerny, Op. 740 I find far more interesting than the threadbare 299.
Heller is indispensable, so melodious and musical. Arthur Foote's
studies, Op. 27, are very useful; also MacDowell's, Op. 39 and 46.
Sometimes I use a few of Cramer's and the Clementi 'Gradus,' though
these seem rather old-fashioned now.

"For more advanced pupils I find Harberbier, Op. 53 especially
applicable; there is beautiful work in them. Kessler, Op. 20, and the
Moszkowski studies, Op. 72, have splendid material for the advanced
player, and prepare for Henselt, Rubinstein, Chopin and Liszt études. I
find that studies are valuable for application of technical principles,
for reacting purposes, and for the cultivation of all the refinements of
playing. Some teachers believe in applying the technic directly to
pieces, and use almost no studies; but I think a study is often more