se
signs were little used. Bach used them very sparingly. It was not
necessary to mark them in those times, for every musician who counted
himself a musician could determine the phrases as he played. But a
knowledge of the means of defining phrases in a composition is by no
means all-sufficient. Skill in executing the phrases is quite as
important. The real musical feeling must exist in the mind of the
composer or all the knowledge of correct phrasing he may possess will be
worthless.

REGULATING THE TEMPO

If a fine musical feeling, or sensitiveness, must control the execution
of the phrases, the regulation of the tempo demands a kind of musical
ability no less exacting. Although in most cases the tempo of a given
composition is now indicated by means of the metronomic markings, the
judgment of the player must also be brought frequently into requisition.
He cannot follow the tempo marks blindly, although it is usually unsafe
for him to stray very far from these all-important musical sign-posts.
The metronome itself must not be used "with closed eyes," as we should
say it in Russia. The player must use discretion. I do not approve of
continual practice with the metronome. The metronome is designed to set
the time, and if not abused is a very faithful servant. However, it
should only be used for this purpose. The most mechanical playing
imaginable can proceed from those who make themselves slaves to this
little musical clock, which was never intended to stand like a ruler
over every minute of the student's practice time.

CHARACTER IN PLAYING

Too few students realize that there is continual and marvelous
opportunity for contrast in playing. Every piece is a piece unto itself.
It should, therefore, have its own peculiar interpretation. There are
performers whose playing seems all alike. It is like the meals served in
some hotels. Everything brought to the table has the same taste. Of
course, a successful performer must have a strong individuality, and all
of his interpretations must bear the mark of this individuality, but at
the same time he should seek variety constantly. A Chopin ballade must
have quite a different interpretation from a Scarlatti Capriccio. There
is really very little in common between a Beethoven Sonata and a Liszt
Rhapsody. Consequently, the student must seek to give each piece a
different character. Each piece must stand apart as possessing an
individual conception, and if the player fails