om the machine
standpoint--that is, make it capable of playing with the greatest
possible rapidity, the greatest possible power, when power is needed and
also provide it with the ability to play those passages which, because
of fingering or unusual arrangement of the piano keys, are particularly
difficult to perform.

THE BRAIN SIDE OF PIANO STUDY

"In the second channel we would find the study of the technic of the art
of playing the instrument. Technic differs from the mechanics of piano
playing in that it has properly to do with the intellectual phase of the
subject rather than the physical. It is the brain side of the study not
the digital or the manual. To the average student who is short-sighted
enough to spend hours hammering away at the keyboard developing the
mechanical side of his work, a real conscious knowledge of the great
saving he could effect through technic, would be a godsend. Technic
properly has to do with Rhythm, Tempo, Accent, Phrasing, Dynamics,
Agogics, Touch, etc.

"The excellence of one's technic depends upon the accuracy of one's
understanding of these subjects and his skill in applying them to his
interpretations at the keyboard. Mechanical skill, minus real technical
grasp, places the player upon a lower footing than the piano-playing
machines which really do play all the notes, with all the speed and all
the power the operator demands. Some of these instruments, indeed, are
so constructed that many of the important considerations that we have
placed in the realm of technic are reproduced in a surprising manner.

THE EMOTIONS IN PIANO PLAYING

"However, not until man invents a living soul, can piano playing by
machine include the third and vastly important channel through which we
communicate the works of the masters to those who would hear them. That
channel is the emotional or artistic phase of piano playing. It is the
channel which the student must expect to develop largely through his own
inborn artistic sense and his cultivated powers of observation of the
playing of master pianists. It is the sacred fire communicated from one
art generation to the next and modified by the individual emotions of
the performer himself.

"Even though the performer may possess the most highly perfected
mechanism, technical mastery which enables him to play great
masterpieces effectively, if he does not possess the emotional insight,
his performances will lack a peculiar subtlety and artistic pow