e 'Little Pieces' up to the big Preludes and
Fugues. Whenever I can I use Bach. But here again we have not time to
use as much of Bach as we should like. Still I do the best I can. Even
with those who have not a great deal of time to practise, I get in a
Bach Invention whenever possible.

"When a new pupil comes who is just starting, or has been badly taught,
she must of course begin with hand formation. She learns to form the
arch of the hand and secure firm finger joints, especially the nail
joint. I form the hand away from the piano, at a table. Nothing can be
done toward playing till these things are accomplished. I often have
pupils who have been playing difficult music for years, and who consider
themselves far advanced. When I show them some of these simple things,
they consider them far too easy until they find they cannot do them.
Sometimes nothing can be done with such pupils until they are willing to
get right down to rock bottom, and learn how to form the hand. As to the
length of time required, it depends on the mentality of the pupil and
the kind of hand. Some hands are naturally very soft and flabby, and of
course it is more difficult to render them strong.

FINGER ACTION

"When the arch of the hand is formed, we cultivate intelligent movement
in the finger tips, and for this we must have a strong, dependable nail
joint. Of course young students must have knuckle action of the fingers,
but I disapprove of fingers being raised too high. As we advance, and
the nail joint becomes firmer and more controlled, there is not so great
need for much finger action. Velocity is acquired by less and less
action of the fingers; force is gained by allowing arm weight to rest on
the fingers; lightness and delicacy by taking the arm weight off the
fingers--holding it back.

"I use no instruction books for technical drill, but give my own
exercises, or select them from various sources. Certain principles must
govern the daily practise, from the first. When they are mastered in
simple forms later work is only development. Loose wrist exercises, in
octaves, sixths, or other forms, should form a part of the daily
routine. So should scale playing, for I am a firm believer in scales of
all kinds. Chords are an important item of practise. How few students,
uninstructed in their principles, ever play good chords? They either
flap the hand down from the wrist, with a weak, thin tone, or else they
play with stiff, high wrists