r it interferes with clearness. I
prefer to play more slowly, giving the greatest attention to clearness
and good tone. By pursuing this course I find that when I need velocity
I have it."

Clarence Adler counsels pupils always to begin by practising
slowly--faster tempo will develop later, subconsciously. Velocity is
only to be employed after the piece has been thoroughly learned, every
mark of expression observed, all fingering, accents and dynamic marks
mastered. "You would scarcely believe," he adds, "how slowly I practise
myself."

A FEW EXCEPTIONS

There are very few exceptions to the general verdict in favor of technic
practise apart from pieces. Godowsky asserts he never practises scales.
Bauer cares little for pure technic practise, believing the composition
itself contains sufficient material of a technical nature.

Whether or not these brilliant exceptions merely prove the rule, the
thoughtful student of the piano must decide for himself. He has already
discovered that modern piano playing requires a perfect technic,
together with the personal equation of vigorous health, serious purpose
and many-sided mentality. Mme. Rider-Possart says: "Technic is something
an artist has to put in the background as something of secondary
importance, yet if he does not possess it he is nowhere." The student
will not overlook the fact that to acquire the necessary technical
control he must devote time and thought to it outside of piece playing.
He must understand the principles and follow out a certain routine in
order to secure the best results in the quickest and surest way. While
each one must work out his own salvation, it is an encouragement to know
that even the greatest artists must toil over their technic, must keep
eternally at it, must play slowly, must memorize bit by bit. The
difference between the artist and the talented amateur often lies in the
former's absolute concentration, perseverance and devotion to the
highest ideals.

SECTION IV

_How to Memorize_

At the present stage of pianistic development, an artist does not
venture to come before the public and "use his notes." No artist who
values his reputation would attempt it. Everything must be performed
from memory--solos, concertos, even accompaniments. The pianist must
know every note of the music he performs. The star accompanist aspires
to the same mastery when he plays for a famous singer or
instrumentalist. We also have the artist con