shall go. I returned home greatly in need of rest. I shall now begin
work in earnest, however, as summer is really the only time I have for
study throughout the year. I shall have six full weeks now before we
take our usual holiday in the Grindelwald. On the way there we shall
stop at Morges and visit Paderewski, and then I will go over the
concerto with him and get his ideas as to interpretation.


MEMORIZING BY ANALYSIS

"You ask how I memorize. First I go over the work several times to get a
general idea of the whole. Then I analyze it, for I feel it absolutely
necessary to know keys, chords, and construction. A work should be so
well understood along these lines that it can be played in another key
as well as in the one in which it is written. For the actual memorizing
of the piece I generally do it phrase by phrase, not always 'each hand
alone,' though occasionally I do this also. I remember learning the Bach
A minor Prelude and Fugue in this way. If I were now asked to play any
measure or passage in any part of it I could do so; it is mine forever,
never to be forgotten."

Asked about the different ways of teaching the Leschetizky method by
various teachers, Miss Goodson said:

"As we all know, people claim to understand and teach the Leschetizky
principles who are not competent to do so. I do not recall, for
instance, that the professor requires the tips of the fingers to form a
straight line on the edge of the keys. I myself have never done this. I
believe in a perfectly easy and natural position of hand at the
keyboard. When this is the case the finger-tips form a curve, the middle