d, normal
playing position, with fingers well rounded and good finger action. Here
you have the 'Technical' or 'Coloratura Hand.'"

The distinction made by Mr. Burnham clears up the uncertainty about
arched hand and articulate touch, or low hand and flat fingers. Both are
used in their proper place, according to the demands of the music. The
player, however, who desires a clean, reliable technic, should first
acquire a coloratura hand before attempting a melody hand.

SECTION III

_The Art of Practise_

We have seen that if the pianist hopes to perfect himself in his art he
must lay the foundation deep down in the fundamentals of hand position,
body condition, correct finger movements and in careful attention to
the minutest details of touch and tone production.

The remark is often heard, from persons who have just listened to a
piano recital: "I would give anything in the world to play like that!"
But would they even give the necessary time, to say nothing of the
endless patience, tireless energy and indomitable perseverance which go
to the making of a virtuoso.

How much time does the artist really require for study? Paderewski owns
to devoting _all_ his time to it during the periods of preparation for
his recital tours. At certain seasons of the year most of the artists
give a large portion of each day to the work. Godowsky is an incessant
worker; Burnham devotes his entire mornings to piano study; Germaine
Schnitzer gives six hours daily to her work, and if interrupted one day
the lost time is soon made up. Eleanor Spencer "practises all her spare
time," as she quaintly puts it. A professional pianist must give a
number of hours each day to actual practise at the keyboard, besides
what is done away from it. The work is mentally going on continually,
whether one really sits at the instrument or not.

The point which most concerns us is: How shall one practise so as to
make the most of the time and accomplish the best results? What etudes,
if any, shall we use, and what technical material is the most useful and
effectual?

Wilhelm Bachaus, whose consummate technic we have so often admired,
says: "I am old-fashioned enough to still believe in scales and
arpeggios. Some of the players of the present day seem to have no use
for such things, but I find them of great importance. This does not
necessarily mean that I go through the whole set of keys when I practise
the scales. I select a few at a time and w