anon, which is used very extensively in the conservatories. In fact,
this is practically the only book of strictly technical studies
employed. All of the studies are in the key of "C." They include scales,
arpeggios, and other forms of exercises in special technical designs.

At the end of the fifth year an examination takes place. This
examination is twofold. The pupil is examined first for proficiency in
technic, and later for proficiency in artistic playing--pieces,
studies, etc. However, if the pupil fails to pass the technical
examination he is not permitted to go ahead. He knows the exercises in
the book of studies by Hanon so well that he knows each study by number,
and the examiner may ask him, for instance, to play study 17, or 28, or
32, etc. The student at once sits at the keyboard and plays.

Although the original studies are all in the key of "C," he may be
requested to play them in any other key. He has studied them so
thoroughly that he should be able to play them in any key desired. A
metronomic test is also applied. The student knows that he will be
expected to play the studies at certain rates of speed. The examiner
states the speed and the metronome is started. The pupil is required,
for instance, to play the E flat major scale with the metronome at 120,
eight notes to the beat. If he is successful in doing this, he is marked
accordingly, and other tests are given.

Personally, I believe this matter of insisting upon a thorough technical
knowledge is a very vital one. The mere ability to play a few pieces
does not constitute musical proficiency. It is like those music boxes
which possess only a few tunes. The student's technical grasp should be
all-embracing.

Later the student is given advanced technical exercises, like those of
Tausig. Czerny is also very deservedly popular. Less is heard of the
studies of Henselt, however, notwithstanding his long service in
Russia. Henselt's studies are so beautiful that they should rather be
classed with pieces like the studies of Chopin.

PROPER PHRASING

An artistic interpretation is not possible if the student does not know
the laws underlying the very important subject of phrasing.
Unfortunately many editions of good music are found wanting in proper
phrase markings. Some of the phrase signs are erroneously applied.
Consequently the only safe way is for the student to make a special
study of this important branch of musical art. In the olden days phra