derably across the keys," he said,
"but this oblique position is more comfortable, and the hand can
accommodate itself to the intervals of the arpeggio, or to the passing
of the thumb in scales. Some may think I stick out the elbow too much,
but I don't care for that, if by this means the scale becomes smooth and
even.

OVERHAULING ONE'S TECHNIC

"I have to overhaul my technic once or twice a week, to see that
everything is all right--and of course the scales and arpeggios come in
for their share of criticism. I practise them in legato, staccato and in
other touches, but mostly in legato, as that is somewhat more difficult
and more beautiful than the others.

"Perhaps I have what might be called a natural technic; that is I have a
natural aptitude for it, so that I could acquire it easily, and it stays
with me. Hofmann has that kind of natural technic; so has d'Albert. Of
course I have to practise technic; I would not allow it to lapse; I love
the piano too much to neglect any part of the work. An artist owes it to
himself and the public to keep himself up in perfect condition--for he
must never offer the public anything but the best. I only mean to say I
do not have to work at it as laboriously as some others have to do.
However, I practise technic daily, and will add that I find I can do a
great deal in a short time. When on tour I try to give one hour a day to
it, not more."

Speaking of the action of fingers, Mr. Bachaus continued:

"Why, yes, I raise my fingers whenever and wherever necessary--no more.
Do you know Breithaupt? Well, he does not approve of such technical
exercises as these (illustrating); holding down some fingers and lifting
others, for technical practise, but I do. As for the metronome, I
approve of it to cultivate the sense of rhythm in those who are lacking
in this particular sense. I sometimes use it myself, just to see the
difference between the mechanical rhythm and the musical rhythm--for
they are not always the same by any means.

"Do you know these Technical Exercises of Brahms? I think a great deal
of them, and, as you see, carry them around with me; they are excellent.

"You ask me about octaves. It is true they are easy for me now, but I
can remember the time when they were difficult. The only alternative is
to work constantly at them. Of course they are more difficult for small
hands; so care must be taken not to strain nor over-tire the hand. A
little at a time, in frequent d