It is one thing to understand or to comprehend a rhythm and another to
preserve it in actual playing. Rhythm depends upon the arrangement of
notes and accents in one or two measures which give a characteristic
swing to the entire composition. Rhythm is an altar upon which many
idols are smashed. Sometimes one is inclined to regard rhythm as a kind
of sacred gift. Whatever it may be, it is certainly most difficult to
acquire or better to absorb. A good rhythm indicates a finely balanced
musician--one who knows how and one who has perfect self-control. All
the book study in the world will not develop it. It is a knack which
seems to come intuitively or 'all at once' when it does come. My meaning
is clear to anyone who has struggled with the problem of playing two
notes against three, for at times it seems impossible, but in the
twinkling of an eye the conflicting rhythms apparently jump into place,
and thereafter the pupil has little difficulty with them.

"Rhythmic swing is different from rhythm, but is allied to it as it is
allied to tempo. To get the swing--the impelling force--the student must
have played many pieces which have a tendency to develop this swing. The
big waltzes of Moszkowski are fine for this. If one of Leschetizky's
pupils had difficulty with rhythm he almost invariably advised them to
go to hear the concerts of that king of rhythm and dance, Eduard
Strauss. Dances are invaluable in developing this sense of
rhythm--swift-moving dances like the bolero and the tarantella are
especially helpful. Certain pieces demand a particularly strict
observance of the rhythm, as does the Opus 42 of Chopin, in which the
left hand must adhere very strictly to the Valse rhythm.

THE ANALYSIS OF PHRASES

"The ability to see the phrases by which a composition is built, clearly
and readily, simplifies the study of interpretation of a new piece
wonderfully. This, of course, is difficult at first, but with the proper
training the pupil should be able to see the phrases at a glance, just
as a botanist in examining a new flower would divide it in his mind's
eye into its different parts. He would never mistake the calyx for a
petal, and he would be able to determine at once the peculiarities of
each part. In addition to the melodic phrases the pupil should be able
to see the metrical divisions which underlie the form of the piece. He
should be able to tell whether the composition is one of eight-measure
sections or four-me