Mr. Matthay as minutely gives directions as to the muscular problems of
touch and technique. For instance, he explains how all varieties of
tone, good and bad, are caused, all inflections of Duration, and the
laws which govern the attainment of Agility and ease of Technique; and
also explains the nature of incorrect muscular actions which prevent the
attainment of all these things. He shows where the released arm weight
should be applied, and again, where it should be eliminated; makes
clear the two opposite forms of technic implied by "flat" and "bent"
finger actions, and he goes exhaustively into the little-understood
question of forearm rotary exertions, the correct application of which
he proves to be necessary for every note we play.

In speaking of methods in piano teaching, Mr. Matthay said to me:

"I can say I have no method _of playing_, and moreover I have not much
faith in people who have. My teachings merely show how all playing, good
or bad, is accomplished. There are certain principles, however, which
every player should know, but which, I am sorry to say, are as yet
scarcely apprehended even by the best teachers. The great pianists have
experimented till they have hit upon effects which they can repeat if
all conditions are favorable, and they are in the mood. As a rule they
do not know the laws underlying these effects. You may ask the greatest
pianists, for example, how to play octaves. 'Oh, I play them
thus'--illustrating. Just what to do to attain this result they cannot
explain. In my own case I have done much experimenting, but always with
the view to discovering _how_ things are done--the facts and laws
governing actual tone production and interpretation. I made a study of
Rubinstein's playing, for I found he played a great deal better than I
did. So I discovered many things in listening to him, which he perhaps
could not have explained to me. These facts are incontrovertible and I
have brought many of my colleagues to see the truth of them. More than
this, I have brought many even of my older colleagues who had a
life-time of wrong mental habits to impede them, to realize the truth of
my teachings.

"The work of a teacher should speak for itself. For my own part I never
advertise, for I can point to hundreds of pupils--this is no
exaggeration in the least!--who are constantly before the public, as
concert pianists and successful teachers.

"If there is one thing that rouses me deeply, it is th