rgely a matter of
vision, and have little effect upon the real musical results that the
composition demands. Touch, as I have previously said, all comes down to
the question of the degree of weight applied to the keyboard and the
degree of quickness with which it is applied. In rapid octave and
staccato passages the hand touch is largely used. This is the touch
most dependent upon local muscular activity. Aside from this the
combination of muscular and weight touch almost invariably obtain.

DON'T NEGLECT EAR TRAINING

"I desire to reiterate that if the ideal touch is presented to the
pupil's mind, through the medium of the ear, he will be much more
successful in attaining the artistic ends required. The pupil must
realize clearly _what is good_ and _what is bad_, and his _aural sense_
must be continually educated in this respect. He should practice slowly
and carefully at the keyboard until he is convinced that his arm is at
all times relaxed. He cannot make his sense of touch too sensitive. He
should even be able to sense the weight or upward pressure which brings
the pianoforte key back into position after it has been depressed. The
arm should feel as if it were floating, and should never be tense.

"When I am playing I do not think of the arm motion. I am, of course,
absorbed in the composition being performed. A relaxed arm has become
second nature to me. It comes by itself. Players are rarely able to tell
just how they produce their results. There are too many contributing
factors. Even with the best-known performers the effects differ at
different performances. It is impossible for the performer to give a
program repeatedly in identically the same manner. If he did succeed in
doing this, his playing would soon become stereotyped.

"The teacher should, from the very beginning, seek to avoid stiffness
and bad hand positions, such as crooked fingers or broken-in knuckles.
If these details are neglected the pupil is liable to go through his
entire musical career greatly hampered. I would earnestly advise all
teachers to discourage the efforts of pupils to attain virtuoso heights
unless they are convinced beyond the possibility of a doubt that the
pupil has marvelous talent. The really great performers seem to be
endowed with a 'God-given' insight in the matter of both technic and
touch. They are unquestionably born for it. They possess the right
mental and physical capacity for success. No amount of training wou