had this complete model of piano-key mechanism made. You see I can
touch the key in a variety of ways, and the results will be different
each time. It is necessary for the pianist to look into his instrument,
learn its construction, and know what happens inside when he touches a
key.

"As you say, there are a great many methods of teaching the piano, but
to my mind they are apt to be long, laborious, and do not reach the
vital points. The pianist may arrive at these after long years of study
and experimenting, but much of his time will be wasted in useless labor.

"In my own case, I was forced by necessity to make headway quickly. I
came to Paris years ago as a violinist, but there seemed no opening for
me then in that direction. There was opportunity, however, for ensemble
work with a good violinist and 'cellist. So I set to work to acquire
facility on the piano as quickly as possible. I consulted all the
pianists I knew--and I knew quite a number--as to what to do. They told
me I must spend many months on technic alone before I could hope to play
respectably, but I told them I had no time for that. So I went to work
to study out the effects I needed. It didn't matter to me _how_ my hand
looked on the keyboard; whether my fingers were curved, flat, or stood
on end. I was soon able to get my effects and to convince others that
they were the effects I wanted. Later on, when I had more leisure, I
took more thought about the position of hand and fingers. But I am
convinced that much time is spent uselessly on externals, which do not
reach the heart of the matter.

"For instance, players struggle for years to acquire a perfectly even
scale. Now I don't believe in that at all. I don't believe a scale ever
should be even, either in tone or in rhythm. The beginner's untrained