start with up
movements, as the lifting muscles need special attention. A muscle or a
finger, is either _taut_, _flabby_ or _stiff_; it is the taut condition
I strive for--to make the finger responsive, like a fine steel spring.

"It is absolutely necessary to establish correct finger action at the
outset; for the sake of finger development, clearness, and accuracy.
When single fingers can make accurate up and down movements, we can put
two fingers together and acquire a perfect legato. I teach three kinds
of legato--the _passage_ legato, the _singing_ legato, and the
_accompanying_ legato; the pupil must master the first before attempting
the others. I advise technic practise with each hand alone, for you must
know I am a firm believer in the study of pure technic outside of
pieces.

"As the student advances we take up chord playing with different
touches, scales, arpeggios and octaves. I institute quite early what I
call polyphonic technic--one hand doing a different movement or touch
from the other. This works out in scales and arpeggios with a variety of
touches--one hand playing a passage or scale staccato while the other
plays legato, and vice versa."

Asked if he taught technical material without a book, Mr. Heffley
replied:

"No, I generally use the Heinrich Germer work, as it covers the ground
very satisfactorily; it is compact, concise, and complete in one volume.
I also use Mertke to some extent. Every form of exercise must be worked
out in all keys; I find the books useful for all kinds of students. I
may add that I use comparatively few etudes.

"If the student seems to have a very imperfect rhythmic sense, I use the
metronome, but as sparingly as possible, for I want to establish the
inner sense of rhythm.

"In regard to memorizing. I give no special advice, but counsel the
student to employ the way which is easiest and most natural to him.
There are three distinct ways of committing music: the Analytic,
Photographic, and Muscular. The Analytic memory picks the passage apart
and learns just how it is constructed, and why; the Photographic memory
can see the veritable picture of the passage before the mind's eye;
while the Muscular memory lets the fingers find the notes. This is not a
very reliable method, but some pupils have to learn in this way. Of
course the Analytical memory is the best; when the pupil has the mental
ability to think music in this way, I strongly recommend it.

"One point I ma