nfluence and use
his principles, are generally in favor of the metronome, according to
their own testimony. The fact is, they as teachers often find such
deficiency in their pupils on the subject of time sense and accuracy in
counting, that they are forced to institute strict measures to
counteract this lack of rhythmic comprehension.

Granting, then, that the correct use, not the abuse, of the metronome is
of great assistance in establishing firm rhythmic sense, let us turn
our thought to the fascinating subject of--

TONE COLOR

When De Pachmann affirmed that he uses certain fingers to create certain
effects, the idea was thought to be one of the eccentric pianist's
peculiar fancies. Other players, however, have had the same thought, and
have worked along the same line--the thought that on the fingering used
depends the quality of tone. For instance you might not play an
expressive melody with a consecutive use of the fifth finger, which is
called a "cold finger" by Thuel Burnham. He would use instead the third,
a "warm finger," to give out a soulful melody.

TONAL VARIETY

The pianist who desires to play effectively, must continually strive for
variety of tone, for tonal coloring. These can be studied in scales,
chords, arpeggios and other technical forms. The singer seeks to make a
tone of resonant color, not a straight, flat tone; the pianist, on his
part, endeavors to give color and variety to his playing in the same
way. Harold Bauer thinks variety must be secured by the contrast of one
tone with another. Even a very harsh tone may be beautiful in its right
place, owing to its relation to other tones, and its ability to express
an idea. To render the playing expressive by the contrast of light and
shade, by tonal gradations, by all varieties of touch, by all the
subtleties of _nuance_, is a great art, and only the most gifted ever
master it in its perfection. These are the things that enchant us in
Paderewski's performance, and in the tonal coloring of Gabrilowitsch.
Hofmann's playing is a marvel of atmosphere and color; such playing is
an object lesson to students, a lesson in variety of light and shade,
the shifting of exquisite tonal tints.

The sensitive musician is highly susceptible to color effects in nature,
in art or in objects about him. Certain colors attract him, for he sees
an affinity between them and the tonal effects he strives to produce.
Other colors repel, perhaps for the opposite re