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Excerpt: ...instruction. I trust I do not give you the impression of being so devoted to, and enthusiastic in, the work I enjoyed with my venerated master that I wish to exclude other masters and schools. I think narrowness one of the most unpleasant of traits, and one I should dread to be accused of. I see so much good in others, their ways and ideas, that, to me, all things great and beautiful in art seem very closely related. MEMORIZING How do I memorize a composition? I first play it over a few times to become somewhat familiar with its form and shape. Then I begin to analyze and study it, committing it by phrases, or ideas, one or two measures at a time. I do not always take each hand alone, unless very intricate; sometimes it is easier to learn both hands together. It is a good thing to study out the melodic line, to build each phrase, to work with it till you get it to suit you. Then come the larger proportions, the big climaxes, which have to be thought out and prepared for in advance. A composition should be so thoroughly your own that you can play it at any time, if your hand is in condition. Or, if it has been laid aside for a long time, a couple of days should bring it back. The subject of forming a repertoire is one often overlooked or not understood. The repertoire should be comprehensive and built on broad lines. A pupil intending to make music a profession should know the literature of the piano, not only the small and unimportant works of the great composers (as is too often the case), but the big works as well. If one is well grounded in the classics at an early age, it is of great benefit afterwards. POWER AND VELOCITY For gaining power, heavy chords are very beneficial; combinations of five notes that take in all the fingers are most useful. The principle of velocity is the doing away with all unnecessary movement

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