en opposed to definite "methods"--so-called--when they
are given in an arbitrary fashion and without the care of the
intelligent teacher to adapt special need to special pupils. Methods of
this kind can only be regarded as a kind of musical stencil, or like the
dies that are used in factories to produce large numbers of precisely
similar objects. Since art and its merits are so strangely dependent
upon individuality (and this includes anatomical individuality as well
as psychological individuality), an inflexible method must necessarily
have a deadening effect upon its victims.

The question of whether special technical studies of an arbitrary
nature, such as scale studies, should be extensively used is one which
has been widely debated, and I fear will be debated for years to come.
Let us understand first, there is a wide difference between studying
and practicing. They resemble each other only in so far as they both
require energy and time. Many sincere and ambitious students make the
great mistake of confounding these two very essential factors of
pianistic success. Study and practice really are quite widely removed
from each other, and at the same time they are virtually inseparable.
The real difference lies in the amount and quality of the two elements.
Practice means a large number of repetitions, with a fair amount of
attention to mere correctness of notes, fingering, etc. Under ordinary
circumstances and conditions it usually means a great sacrifice of time
and a comparatively small investment of mentality.

Study, on the contrary, implies first of all mental activity of the
highest and most concentrated type. It _presupposes_ absolute accuracy
in notes, time, fingerings, etc., and implies the closest possible
attention to those things which are generally, though erroneously,
regarded as lying outside of technic, such as tonal beauty, dynamic
shading, rhythmical matters, and the like. Some have the happy gift of
combining practice with study, but this is rare.

Hence, in the question of scale exercises, etc., if the word "study" is
meant in the true sense, I can only say that the study of scales is more
than necessary--it is indispensable. The pedagogical experts of the
world are practically unanimous upon this subject. The injunction,
"study," applies not only to scales, but to all forms of technical
discipline, which only too often are "practiced" without being studied.
I will not deny that mere practicing,