required for each note. Never, therefore, really hit the keys."

Mr. Matthay as minutely gives directions as to the muscular problems of
touch and technique. For instance, he explains how all varieties of
tone, good and bad, are caused, all inflections of Duration, and the
laws which govern the attainment of Agility and ease of Technique; and
also explains the nature of incorrect muscular actions which prevent the
attainment of all these things. He shows where the released arm weight
should be applied, and again, where it should be eliminated; makes
clear the two opposite forms of technic implied by "flat" and "bent"
finger actions, and he goes exhaustively into the little-understood
question of forearm rotary exertions, the correct application of which
he proves to be necessary for every note we play.

In speaking of methods in piano teaching, Mr. Matthay said to me:

"I can say I have no method _of playing_, and moreover I have not much
faith in people who have. My teachings merely show how all playing, good
or bad, is accomplished. There are certain principles, however, which
every player should know, but which, I am sorry to say, are as yet
scarcely apprehended even by the best teachers. The great pianists have
experimented till they have hit upon effects which they can repeat if
all conditions are favorable, and they are in the mood. As a rule they
do not know the laws underlying these effects. You may ask the greatest
pianists, for example, how to play octaves. 'Oh, I play them
thus'--illustrating. Just what to do to attain this result they cannot
explain. In my own case I have done much experimenting, but always with
the view to discovering _how_ things are done--the facts and laws
governing actual tone production and interpretation. I made a study of
Rubinstein's playing, for I found he played a great deal better than I