are more readily within the grasp, and the technical requirements in
them are more easily met. When the hand is in fine condition, exhaustive
technical practise in pieces is not necessary, and much wear and tear of
nerve force is saved. In this technical practise, to which I give an
hour or more daily, I use very simple exercises, but each one contains
some principle of touch, movement or condition. Hand over thumb and
thumb under hand; different qualities of tone; staccato or clinging
touch; scales, arpeggios and various other forms are used. Part of the
technic study period is always given to Bach.

"I began my studies in Vienna with Mme. Bree, to get the preparatory
foundation, but before long combined her lessons with those of the
professor, and later went to him entirely."

"Just here I should like to mention a trifling point, yet it seems one
not understood in America by those who say they are teachers of the
Leschetizky method. These teachers claim that the professor wishes the
fingers placed on a straight line at the edge of the keys, and in some
cases they place the tip of the thumb in the middle of its key, so that
it extends considerably beyond the tips of the other fingers. Is this
the position taught by the _Vorbereiters_, or favored by Leschetizky?"

Miss Spencer's laugh rang out merrily.

"This is the first I have ever heard of the idea! Such a position must
seem very strained and unnatural. Leschetizky, on the contrary, wishes
everything done in the most easy, natural way. Of course, at first, when
one is seeking to acquire strength and firmness of hand and fingers, one
must give time and thought to securing an arched hand and steady first
joints of fingers. Later, when these conditions have been thoroughly
established, the hand can take any position required. Leschetizky's hand
often lies quite flat on the keys. He has a beautiful piano hand; the
first joints of the fingers have so long been held firmly curved, that
they always keep their position, no matter what he is doing; if he only
passes his fingers through his hair, his hand is in shape.

"Leschetizky is indeed a wonderful teacher! The player, however, must
divine how to be receptive, how to enter into the master's thought, or
it may go hard with him. If he does not understand, nor grasp the
master's words he may suffer terribly during the ordeal of the lessons.
I have witnessed such scenes! Those who are equal to the situation
receive most