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| author | nfenwick <nfenwick@pglaf.org> | 2025-01-22 10:49:54 -0800 |
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| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-22 10:49:54 -0800 |
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diff --git a/old/66816-0.txt b/old/66816-0.txt deleted file mode 100644 index 3b0039c..0000000 --- a/old/66816-0.txt +++ /dev/null @@ -1,2225 +0,0 @@ -The Project Gutenberg eBook of Automatic finger control, by U. S. School of -Music - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Automatic finger control - Seventh Edition - -Author: U. S. School of Music - -Release Date: November 24, 2021 [eBook #66816] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Richard Tonsing, Linda Cantoni, Charlene Taylor and the - Online Distributed Proofreading Team at https://www.pgdp.net - (This file was produced from images generously made available - by The Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK AUTOMATIC FINGER CONTROL *** - - - - - _Automatic Finger Control_ - - - A Scientific Method that gets at the very - foundation of Musical Skill. Discloses fully - the secrets that make it possible to learn - to play any instrument easily and quickly. - Taught only by the U. S. School of Music. - For beginners and advanced pupils. Can be - used in conjunction with any method of - instrumental instruction. - - _SEVENTH EDITION_ - - - U. S. SCHOOL OF MUSIC - 225 Fifth Avenue - New York - - _Copyright 1921 by U. S. School of Music_ - - - - - _Preface to the Second Edition_ - - -There is one point which I wish to stress at this appropriate time. It -is something that will prove of great aid to every student of this -advanced, intensely practical, time saving method. That is the habit of -regular practice. - - - CHOOSE A DEFINITE PRACTICE HOUR - -It has been suggested in the course, that you practice the exercises -outlined night and morning. This is my best advice on the matter. There -is a definite reason for this. The things which you do just before you -sleep at night are more apt to be remembered than those which you do at -odd times during the day. That is the reason for choosing bed time for -one period of exercise. - -You will find that if you have given concentrated thought and attention -to the bed time work, that in all probability AUTOMATIC FINGER CONTROL -will be the first thing you think of in the morning. And this is just -the time to clinch the bargain. Get busy at once and do the exercises -over again. - -If you follow this procedure, you will learn very rapidly, and soon, the -muscles will begin to keep time with your brain, which, after all, is -the secret of the whole thing. - -But even supposing you cannot find it convenient to run through the -exercises night and morning. I know that some of our students can’t very -well take the time first thing in the morning. Yet, you should -definitely decide when you can most conveniently do the work, and then -do it regularly at that same hour day after day. - - - FAVORING THE MIND - -The mind is a most wonderful thing. One could devote years and years to -its study. Indeed, many people already have, and even yet, we know very -little about it. But out of all of the maze of study and experiment, we -have discovered that the mind responds best under certain definite -circumstances. - -It is particularly interesting to note the little foibles of composers -and writers. Some authors only write at night. Some only when standing -at their desks. Some do their best work when out in the open. - -Haydn always wanted to have on his finger the ring which Frederick the -Great gave him, when he started out to write a composition. - -Rossini liked to write in bed. So did our dearly beloved humorist, Mark -Twain. And so it goes. Funny in one way, and yet, not funny at all. -These people are merely favoring the peculiarities of their own minds. - -It is hard, especially hard for some people, to take the mind off from -one subject and put it on another. Unless one is easily able to -concentrate on the task at hand, the mind is bound to wander back to the -thing we were thinking of previously. - - - AN AID TO CONCENTRATION - -And yet, we must concentrate on these AUTOMATIC FINGER CONTROL exercises -if we are to get the best and most out of them. - -Experiment shows that if we plan to study at some definite time each -day, the mind gets into the habit of responding at this particular time -and is more ready to work than if we take up the practice at irregular -intervals. - -So choose some definite practice periods—bed time, and the first thing -on arising if possible, but some definite time, at any rate. Then, once -you have set aside that hour, observe it religiously as your practice -period until something comes up that changes your whole mode of life -sufficiently to warrant setting a new study hour. Never excuse yourself -for even so much as a single day. Seven days a week is the best way to -master AUTOMATIC FINGER CONTROL. - -If you will follow these simple suggestions and rules of instruction of -this course, your progress is going to be sure, rapid, and very -gratifying. - - THE AUTHOR. - - - - - U. S. SCHOOL OF MUSIC - - 225 FIFTH AVENUE - - NEW YORK CITY - - - _Departmental Memo._ - - My dear Mr. Kemp: - - It is indeed gratifying to report the remarkable success of the -Course in AUTOMATIC FINGER CONTROL. The Sixth edition is exhausted, and -I am placing a requisition for the Seventh. - - There was never any question as to the unusual benefits that -each student would derive from this new, quick way of learning his -instrument. It is a fact established by tests and experience that -training the muscles to work as fast as the brain—and training them away -from the instrument so that the pupil has only this one thing to think -about—does away with many hours of practice and develops a more perfect -technique. - - But the thing that pleases me most, is to see the way our -students have taken hold of the work. It seems to me typical of the -Spirit of Progress. People want the very best they can obtain in the way -of instruction. They want to take advantage of every short-cut. And that -shows great wisdom. Money can be replaced many fold. Books can be -replaced. Homes can be replaced. Every material thing can be duplicated. -But TIME, once spent is forever lost. It is the young man and woman who -takes advantage of those things which save the minutes and hours and -days who make the startling successes in the world. - - So I feel that we are doing a great service to Humanity at -large, and to every lover of Music in particular in bringing AUTOMATIC -FINGER CONTROL to the fore. Indeed, I believe we would be justified in -insisting that every one of our students—beginners or advanced—cover the -work. - - Every student who conscientiously follows the easy exercises -outlined in this course is assured of becoming a better Musician in -shorter time, with less effort, and a real Musician—not a mere player. - - Cordially yours, - _H. P. Longstreet._ - - HPL:V - - - - - _Automatic Finger Control_ - - - - - INTRODUCTION - - -There are fifty-nine muscles in each arm, including the hand, which the -Musician is called upon to use in his playing. If each of these are -trained to the proper degree, the heaviest part of the task is -accomplished, for not only does the control thus derived perfect technic -and touch, it also helps to overcome nervousness, develops a velvety -touch, becomes an invaluable aid to sight reading, and assists the -student in gaining the power to accompany sympathetically and accurately -at sight. - -It is not necessary to exercise each of these muscles separately. By -careful study, the method of AUTOMATIC FINGER CONTROL has been reduced -to twenty-four weeks’ work. The exercises should be practiced the -required number of times twice daily, preferably upon arising in the -morning, and again in the evening. - -Each movement must be brisk, and as complete a contraction of the -muscles involved as possible. Perform the work with one hand at a time -rather than trying to use both hands at once. Close mental attention to -the movement involved will increase the benefits derived, especially in -the case of those exercises which require that you set one muscle -working in opposition to another. - -Do not, in your enthusiasm, practice these exercises more than directed, -nor should you do them just before your work at the instrument. - -This Course comprises 31 exercises. As you will see from the lessons, it -is not enough that each exercise be practiced a single week. Sometimes -you will be required to work on a single exercise for two weeks in -succession and from time to time the exercises will be reviewed. - -The 31 exercises have been collected and placed in numerical order at -the back of the manuscript. The lessons are found in order at the front. -At the bottom of each lesson page the exercises for the week are -delegated. - -After you have studied your lesson sheet, turn to the exercises -required, for the week’s work, study them carefully and practice -faithfully. - -Do not, under any circumstance, run ahead of your course. To get quick -results, you must practice the exercises in the order given, devoting at -least a week’s time to each lesson. - -If you are just starting to learn your instrument, complete the first -two lessons in AUTOMATIC FINGER CONTROL before you take up the practice -on the instrument. Then take up the first instrumental lesson and do it -in conjunction with Lesson Three of AUTOMATIC FINGER CONTROL. - -Always bear in mind that the main idea of this course is not the -strength of the fingers, nor even their suppleness. The main idea is -coordination between brain and muscle, training the muscles so as to -overcome the tendency of the fingers to move more slowly than the mind. -Therefore, give your entire thought and undivided attention to what you -are doing as you practice the daily exercises. If you will do this, your -progress will be rapid and sure. - - - - - LESSON 1. - - -You are starting something new—something that is going to play a BIG -part in your musical success. The degree and speed of this success -depends on one thing—YOU. - -Take warning from the old adage—“A new broom sweeps clean.” - -You must strive for moderation in all things. During the first few -weeks, you will be tempted to give too much time to the following -exercises. During the later weeks, you may be tempted to neglect them -because of the marked improvement which you have already received. But -be determined. Go through with the entire course just as it is outlined. -Do each exercise the exact number of times each period that is called -for. And do the entire set both night and morning. - -It is important that you do the various movements with considerable -effort because the complete contraction of the muscles obtained in this -way tends to squeeze the blood out of them, thus drawing a new supply of -fresh, nourishing blood in replacement. In this way, you not only -strengthen the muscles by the movement, but you also feed both them and -the nerves. - -The fingers and wrists must bear a heavy part in the playing of any -musical instrument, therefore, we will devote ourselves exclusively this -week to strengthening these. If the muscles tire easily and tend to -stiffen up, go a little easy the first few days, but do some work each -and every day. The improvement will be all the more noticeable, as you -are evidently unusually in need of stronger fingers. - -Practice Exercises 1, 2, 3, and 4 this week. - - - - - LESSON 2. - - -How are the fingers this week? Did they feel effect of starting regular -practice? Even if they did, the temporary lameness should be gone by -now. And we must continue these same movements another week. Pluck, -remember, is that spirit in man which fails to understand despair—which -keeps a man up even when he seems to be down. Do not falter. Keep -everlastingly at it. - -We add, in this lesson, an exercise for the forearm. This is the next -territory of importance to be brought under control. You will have no -difficulty with this new exercise. The movement is of especial interest -to students of the Piano and Organ, though every musician should have -the muscles involved under perfect command. - -One of the greatest joys in playing is the ability to read at sight, and -to play accurately and with feeling. - -AUTOMATIC FINGER CONTROL brings this finished ability more quickly than -any other means, for it teaches you once and for all how to manage your -fingers. The correct action soon becomes automatic, indeed, and then -your full attention can be given to the beautiful hidden meanings of the -piece you are playing. That is the highest meaning of technic—to be able -to play without any thought of the mechanical “how.” - -If you are studying these lessons in conjunction with an instrument, it -will be well, for the first few weeks to give more attention to the -Finger Control exercises than to practicing on the instrument itself. - -In this way, when finally you do begin to play, your advancement will be -rapid and satisfactory. - -For this week, practice Exercises 1, 2, 3, 4, and 5. - - - - - LESSON 3. - - -You should be coming along in good shape, now, so you are to have two -new exercises this week. One of them is particularly for the hand. It is -barely possible that this exercise of snapping the fingers open will -cause the wrists to tire. Do not be discouraged by this. That is a sure -indication that you are in particular need of strengthening of these -muscles, and once they are built up, you will find yourself doing -constantly better work on the instrument. - -The second of the new movements is for strengthening the upper arm. -Remember to take it easy at first until the shoulder feels strong enough -to resist the strain that is brought to bear upon it. This valuable -exercise will be continued next week. - -Many students find it convenient to learn the exercises for the week by -heart, and then practice them at odd moments as on their way to work. -This is quite satisfactory, and if you are pressed for time, it is a -good idea to get into this habit. BUT, be sure that you get in your two -full periods each day. - -Review work in any study is of utmost importance. After an exercise has -been dropped from the current week’s lesson, make it a point to do it, -just the same, at least once or twice a day. In this way, not only will -you be assured of losing nothing of the work that has gone before, but -you will also progress faster with the new. All of the muscles depend -more or less on each other, and what helps one, helps all. - -And remember—decision of character outstrips even talent and genius in -the race for success. - -Exercises 5, 6, 7, and 8 this week. - - - - - LESSON 4. - - -Are you in tune? - -The finest Stradivarius is only a sounding board and four strings—unless -it is in tune. And then, it becomes a messenger of the soul, indeed. - -So is it with each one of us. If we are in tune with the Infinite, the -sky is blue vaulted above us; the birds cleave the sky with sweetest of -music; there’s a song in the heart, and a smile on the lips. - -How can we hope to interpret the secrets of the Master-workers in Music -unless we ourselves are in tune? Take stock of yourself each day and see -if you are really living. - -The new exercise this week is for strengthening the fingers as well as -for limbering up stiff joints. Around each of the finger joints, there -are transverse ligaments—bands of muscle which hold the lengthwise -finger muscles in place and bind them to the bones. - -Unless one is using his fingers in a special and unordinary way, these -ligaments become stiff and inflexible, so that the movement of the -fingers is greatly hindered. - -It is absolutely essential that these muscles should be limbered up and -kept soft and pliable if you are to get any satisfactory movement of the -fingers at your instrument. - -Do not overlook any of these exercises, new or old. Each is designed to -accomplish a certain definite object. Each must be practiced a certain, -definite number of times to get the best results. - -This week, do Exercises 6, 7, 8, 9, and 10. - - - - - Lesson 5. - - -Test out your ideals. - -What is it you have in mind to accomplish? Unless you have the way -plainly charted before you, unless you are guided by the ever glowing -light of a great ideal, you are almost certain to be dashed upon the -rocks of failure. - -We graduate from the School of Life only with the coming of Death. To -some of us, Death comes early; to others, long years are granted for -delving into the ever changing mystery of being. But withal, what we -accomplish, is dependent on the ideal that guided and urged on our step. - -Genius is infinite painstaking. - -It is the determination bravely to learn the truth about ourselves and -our fellow men. With a fixed determination and a fixed ideal, YOU are of -genius calibre! - -A month ago you set out to learn to play by the Short-Cut Method. This -method holds unquestionable advantages which are available in no other -way. It saves weeks of weary practice at the instrument because it -enables you to work to the very best advantage when you DO play. It -develops accuracy, speed and sympathetic understanding. - -Here, then, is one ideal—the determination to learn to play, so that you -can give joy to others, and so that you can take greater pleasure in -self expression through the art of Music. The degree of your success -will be measured only by the sincerity of your purpose. It’s up to you! - -As Charles Dana Gibson, the famous artist says— - -“There isn’t any trouble with the world, today. The trouble, if any, is -with the people in it.” - -Exercises 7, 8, 9, 11, and 12. - - - - - LESSON 6. - - -You must take particular care with the wrist exercises in this week’s -lesson. Study the cuts until you are thoroughly acquainted with what is -required, and then put considerable “steam” behind the movements. - -The exercise for both hands together will call into play certain of the -finger muscles and strengthen them to the necessary degree for playing. -They will also help to free the transverse ligaments and thus relieve -the fingers of stiffness. - -In this exercise, as in every other, a feeling of fatigue or pain -denotes a weak condition of the muscles. It means proceed with caution. -It does NOT mean to drop the exercise. If the fingers get tired during -the first few days of a new exercise, you may use less muscular -resistance for a while, and in extreme cases, you may be excused from -going through the movements the full number of times. - -But always remember, too, that tired muscles are a promise of -exceptional reward. If your need is great—if the muscles are -particularly weak to start with—the benefits you derive from the proper -strengthening and control of them will be positively amazing. - -Elbert Hubbard said “Responsibilities gravitate to the person who can -shoulder them; power flows to the man who knows how.” - -Conditions are unusually good for the rapid advancement of the man who -has the will to conquer—and knowledge of the weapon in his hands. YOU -have both, so I am expecting big things of you. You would not disappoint -me, would you? - -This week’s work is Exercises 9, 11, 13, and 14. - - - - - LESSON 7. - - -Do you ever stop to think how truly marvelous is the Music of Nature? -The babbling brook, the murmuring trees, the singing birds, the ocean’s -roar, the peal of thunder, the crash of storm, the lowing cow, the -rustling grass;—all Nature sings. But how often we hear and failing to -understand, miss much of the joy of life. - -It is only as we understand Nature, and our Brother, and Ourself, that -we begin to understand God. With that understanding we begin in reality -to live and to acquire. - -“He who comprehends the nature of prayer” it has been said “bends not -the knee. He towers in majesty. He goes forth to meet his own. He -ascends the mount and speaks with God.” - -Or, as Emerson put it, “The things that are really for thee gravitate to -thee.” - -The world is full of good things that are intended especially for you. -But, if you want the best, you must be ready—through understanding, to -receive the best. - -You should be applying the benefits of the AUTOMATIC FINGER CONTROL -Method to actual daily playing, now. Are you doing so? - -Just to learn a thing and then stick it away in the closet of your mind -is a poor investment of time, effort, and money. Put what you know into -service, no matter what the subject may be. It is action that begets -success and commands reward! Without action, the law of “two plus two -equals four” would be an empty farce. - -DO! And do the best you know. - -Practice Exercises 11, 13, 15, and 16. - - - - - LESSON 8. - - -Irresolution is a worse vice than rashness. - -He who shoots worst may sometimes hit the mark, but he, who shoots not -at all can never hit it. Irresolution loosens all the joints of a state; -like an ague, it shakes not this nor that limb, but all the body is at -once in a fit. The irresolute man is lifted from one place to another, -so hatcheth nothing, but addles all his actions. - -It will pay you to think carefully on the above quotation from Feltham. - -Also, consider the following beautiful paragraph on Faith. - -Faith is like the primitive granite of old New England. Dig down deep -and you come to it below all superimposed strata. Go to the summit of -the highest mountains and you find it, on loftiest elevations. Faith -begins as the basis of the infants knowledge; it ends in leading us to -know the bigness, the grandeur of life. - -On these two things, to large degree, depends your rapid success in -learning to play through the Method of AUTOMATIC FINGER CONTROL. You -must be filled with the faith and knowledge that each exercise has its -particular place not only in strengthening the muscles, but in preparing -you for the work to come. And knowing this, you must be filled with -resolution to work and achieve that you never falter by the way—that you -never miss a practice period. - -The Exercises this week are 10, 13, 15, and 16. - - - - - LESSON 9. - - -Do you make it a point to keep physically fit? - -We are learning that Music has a great deal to do with health, and -surely health has much to do with your ability to produce Music. - -Music is being used more and more in the hospitals for quieting and -cheering the patients. Music played an important part behind the lines -in the great war in the way of lending support and courage to those so -sorely in need of it. - -What, on the other hand, has health to do with Music? - -Music is self expression. If that self which produces the melody be ill, -the fact will be reflected in the playing. Music displays the hurts of -the body and the hurts of the heart, as well. So it behooves us who -would be musicians to keep well in mind and body. - -To a great extent, this is just a question of common sense. Be -thoughtful of your eating, your sleeping, and your exercise, and let -Nature care for the rest. - -But when misfortune of any kind does overtake you—and we are all caught -at sometime or other—turn freely to your Music for relief. You will find -it. Pour out your soul in the melody of your instrument. If there is -bitter in the heart, let it come out. Get rid of it. If there is -sadness, express it and replace it then with joy. If there is doubt, -play on until at length comes peace again, and sweet assurance. Music -brings health—and health lends joy to Music! - -Practice Exercises 12, 17, 18, and 19 faithfully. - - - - - LESSON 10. - - -It is necessary to train the muscles to act quickly, accurately, -strongly, and without easy tiring if you are to be a super-musician. In -order to acquire the independent, individual movement of the fingers, -they have to go through the “awkward squad” stage, it is true; but with -the proper, thoughtful drilling, which these lessons, like an -understanding officer gives, they soon become familiar with the commands -and learn to obey orders. - -Obedience is of absolute importance in learning AUTOMATIC FINGER -CONTROL. First obedience that you must give to the written word of the -lesson. And then obedience that you must demand of the muscles involved. -When you want your finger or whatever it may be to perform a certain -movement, do not accept anything short of perfection from it. Analyze -each movement that seems to give trouble. Trouble—understand—is half -removed. - -If you demand perfect obedience from your fingers each and every time, -it will not take long for you to establish that very desirable -connection—or shall we say understanding—between the brain and the -fingers which will free you from the usual drudgery of fumbling for the -notes at the instrument, of only half comprehending what you are -playing, and of getting tired when you should still be fresh and -enjoying yourself. - -Thus, the habit of correctness is established. If there be any good -habits; surely, this is one of the best that a Musician could acquire. I -commend it to you highly. It well repays your effort in gaining it. - -Exercises 17, 18, 19, and 20. - - - - - LESSON 11. - - -Sometimes, as we go along in a course of lessons, we are inclined to -lose sight of the original purpose. It often is well to look back and -see what we set out to do, and what we are accomplishing. - -In the first place, we started out to develop strength, flexibility, -freedom of movement, independent action, and perfect control of each one -of the fingers. Our purpose in doing these things is to enable one to -save time in learning to play any musical instrument through -specializing on the finger work which constitutes some nine-tenths of -the battle. At the same time, other benefits are expected—greater -self-reliance, greater accuracy in sight reading, and greater ease in -accompanying. - -In order to accomplish these ends, we have been freeing the joints from -stiffness and lameness. We have been training the fingers to move more -widely and more freely. And we have been developing the muscles, so that -the fingers have been developed, strengthened, given greater speed and -facility of action, and their endurance increased. - -With greater strength, has come greater independence in action. By this -time, you ought to be well started toward perfect control of each of the -fingers. - -Since the whole course is based on careful, scientific investigation, -the work has been built up in difficulty as the lessons went on, so that -there has been nothing really hard about them. They are interesting and -progressive. That is as it should be. As the course proceeds, whether -you have new or review work, bear in mind that what is given is exactly -what you need, and what will help you most. - -Practice Exercises 17, 18, 20, and 21. - - - - - LESSON 12. - - -Great thought precedes all greatness. No man is great whose thought is -not great. - -A pessimist and an optimist were discussing life from different angles. -“I really believe,” said the former, “that I could make a better world -myself.” - -“Sure!” returned the optimist; “That’s just what we’re here for. Now -let’s get together and do it.” - -If you will get the right thought, and then get to work, you will -accomplish your part in making a better world yourself. One of the -things that the world looks to you to do is to supply it with music—to -bring harmony to quiet its tired and jangled nerves—to bring joyous -melody to liven the grief bound heart—and to bring an atmosphere of rest -to the sick and weary. - -With this lesson, you are completing the first half of the work on -AUTOMATIC FINGER CONTROL. You have already had most of the movements -that are necessary for the efficient playing of your favorite -instrument. It still remains to make the habit of proper fingering -second nature. So, although you will find the old exercises coming up -from time to time in the remainder of the course, do not slight them. -Indeed, your muscles should be so much stronger now, that you can afford -to run through the exercises three times a day instead of only twice. -Suppose from now on you get in a short practice period at noon, as well -as night and morning. - -Yes! It will be worth while. Think BIG thoughts about this, as well as -about the rest of your daily tasks. - -This week, work on Exercises 17, 18, 21, and 22. - - - - - LESSON 13. - - -FRIENDS! - -Much has been said about friends—many beautiful things, many apt phrases -rich with understanding. To me, a friend is one who understands me—and -loves me in spite of that fact. - -One of my dearest friends is my piano, and I feel that every musician -must consider his instrument in this light just as I do. - -When I am tired and discouraged, or when I am joyful and full of hopeful -expectation, it makes no difference what the mood, my piano responds to -my every touch. It sings with me when I would sing. In minor chord it -grieves to see me sad. It can be light and airy when I will; or if -thought runs madly on and on, lightly touching the heights of exaltation -or delving into mirey depths beneath—still I am not alone. And being not -alone, I stand. - -I want you to learn to think of your instrument as a Friend, for I know -the endless joy that such a close communion is bound to give. - -Would you have a friend? Then be one. - -It applies with equal force as regards your instrument. You must -understand it just as thoroughly as you long to have it understand you. -That is where AUTOMATIC FINGER CONTROL should be a constant help to you. -It enables you to understand your instrument so much better. - -The exercises take on a simpler mien, now. That is only possible, -however, because of the good work you have already done. Keep it up! - -Starting Review. Practice Exercises 1, 22, 23, and 24. - - - - - LESSON 14. - - -Let me call your attention to the new exercise. - -Its particular purpose is the strengthening of certain of the finger -muscles which will be used quite often in playing, the limbering up of -the fingers, and the stretching of the muscular covering of the palms. -This exercise is not a difficult movement, by any means, but if you do -it with considerable muscular resistance by the opposing sets, you will -bring a large number of muscles into play at one effort. - -The mind is a wonderful, yet peculiar thing. Some of the fads of great -men typically exemplify this. For example, it is said that Gluck could -only compose in the open air. When the spirit of composition took hold -of him, he dragged his piano out on the lawn, and there evolved his -beautiful harmonies. And yet, to me, do you know, that is not so -peculiar after all. Gluck, I take it, wanted to get close to Nature. - -All of us feel the urge to draw nigh to Nature. That is one of the -reasons we so dearly love Music. Music is the portrayal of Nature at her -best. - -Another tale they tell is that Chateaubriand dictated his works in his -bare feet. Elegantly attired down to the extremities, he padded softly -up and down the floor, his thin, white feet and ankles very conspicuous -on the dark rugs. - -We all have peculiarities of living. And Musicians generally have -similar peculiarities of playing. Do you know what yours are? Better -take stock and see! - -Practice this week Exercises 2, 23, 25, and 31. - - - - - LESSON 15. - - -If you use considerable muscular resistance in practicing the new -exercise of this week’s lesson, you will find that the muscles used will -tire quite readily. This, remember, is proof that this particular work -is badly needed. As the days pass, however, and these muscles are -strengthened to the required degree, you will find yourself able to -perform it a greater number of times and with perfect ease. As in every -other walk of life, you don’t get anything worth while without effort; -but as with the other exercises of this course, results come surely and -speedily. - -Elbert Hubbard has said “Improve your opportunities, that’s the thing! -Decide on what you want to do and what you want to be and go after it! -You’ll win, and those fellows who chase the pee-wee, manipulate the -pasteboards, and inhale cigarette smoke, will be coming to you for -advice, to borrow money, and for passes to the poor house.” - -You notice he said “improve” your opportunities. He didn’t use that old -phrase about “grasping” them. And I believe this was intentional on his -part. Opportunity doesn’t come to us so much as is commonly said. -Opportunity is ever with us. Opportunity is just what we make it. If we -have the imagination to see the golden chances before us and to improve -them, we’ll make good. - -You are enjoying an unusual opportunity in the Musical world in that you -are permitted to learn to play your instrument the quick and easy way. -Are you improving your opportunity? - -Exercises 5, 25, 26, and 27. - - - - - LESSON 16. - - -In learning to lift weights, athletes start with a very light load, and -by steadily increasing it a little at a time, they are eventually able -to develop tremendous strength. - -You remember that old story about the farmer’s boy who, just a few years -ago, made a practice of picking up a calf and carrying it across the -barn yard. Of course, as the calf grew and became heavier, the farmer -boy’s strength increased. It had to, otherwise he couldn’t have -continued to carry the calf around. And so it went, month after month, -year after year. And now, so they say, the farmer boy is able to throw -the bull. - -It’s a terrible story, but we’ll overlook that fact if only it impresses -upon you one point I wish to make. - -The new exercise in this week’s lesson is based on the same principle as -the weight-lifting methods. You will see that you apply auxiliary -pressure for the finger muscles to work against. By using greater and -greater pressure, you can develop almost any amount of finger strength -that you may desire. So you should stick to the careful use of this -exercise for many weeks to come. - -Speaking of doing an exercise week after week, I sincerely trust that -you are not neglecting your review work. You are studying these lessons -for what you get out of them. If you really want to get your money’s -worth, you must keep going over the lessons time and again. And each -time, I can promise you, you will find new benefits and pleasures. - -Devote your time this week to Exercises 3, 6, 27, and 28. - - - - - LESSON 17. - - -ENERGY! - -Energy is that mysterious something that has the power to do work—to get -results. - -We can’t see energy, we can’t smell or taste it, we can’t hear it, nor -is it anything we can feel. But its results—we perceive them everywhere. - -The heat in our homes and bodies is the result of energy. The light that -guides us by night and that brightens our daytime is the result of -energy. The electricity that turns motors and carries our messages is -another name for that indescribable something—energy. - -But one of the greatest sources of energy is the human mind. Each one of -us has within himself tremendous possibilities. We can work with our -hands, or we can work with our heads. The choice rests largely with -ourselves. And the difference between a hundred thousand dollar a year -man and a ditch digger is from the ears up. Can one indiscriminately -convert himself between these extremes? I don’t know. It is claimed, -however, that the average person uses only one-tenth of his inherent -mental ability. And I am satisfied that the curse of the age is mental -laziness. How far the ditch digger can rise, I believe depends wholly on -how great an effort and sacrifice he is willing to make for his -advancement. - -Every properly guided effort for advancement does, eventually bear -fruit. Move right up front in the forerank of Musicians! You can, for -your effort is properly guided. - -Exercises 4, 7, 27, and 28 comprise this week’s work. - - - - - LESSON 18. - - -It is true that these are days of specialization, but one must be -careful not to miss anything through too narrow a field of endeavor. - -Take Music, for instance. You have taken the AUTOMATIC FINGER CONTROL -Method to enable you to learn to play some instrument in quicker time -than would otherwise have been expected. AUTOMATIC FINGER CONTROL is a -specialized course. - -Sometimes, musicians forget that there is another instrument or branch -of Music save their own. That is where they make a mistake. Every -Musician should fit himself to teach. I don’t say that he should teach -afterward, but he should understand his instrument so well that he is -perfectly capable of teaching it. Indeed, I doubt if one truly knows a -thing himself until he is able to teach it to others! - -Many of our students make a business of teaching. Whether you are going -to teach, or not, you should consider taking up some of the other -courses in Music which run right along parallel with what you are doing. -The Unit Lesson System for Voice Perfection is something that every -Musician should have. It is a very novel method whereby it is possible -to get specific benefits from each individual lesson. It is a complete -Vocal Course, and also teaches Speech Making, Gesture, Overcoming -Nervousness and Stage-Fright, How to develop a winning Personality, etc. -Another course that you could take to advantage is the one in sight -reading. It would be a constant help. Write for full particulars about -enrolling for these. - -Exercises 8, 14, 25, and 26. - - - - - LESSON 19. - - -If, as has been said, the purpose of words is to conceal thought, then -it may be equally as well said that the purpose of Music is to reveal -soul. - -I don’t suppose that there is a human being alive but that longs to be -“understood.” There are all too few in this world who are willing to -give the time and thought and heart to the understanding of others. And -even if there were a greater willingness to understand, too few of us -are able to express our deepest thoughts in words. - -But Music is the Universal Language. Once we learn it, the tips of our -hearts creep out through the tips of our fingers. There may be no one to -hear. Perhaps no one would understand even if they were about. But the -blessed, joyous part of it all is that at last we have found self -expression, and that is the next best thing to being understood. - -Remember that the composers of the ages have been talking through this -language of soul in all that they have written. As you play a piece of -music, you therefore have two tasks to perform. You must strive to pass -on the message that the Masters left, and you must interweave with it -your own inner self. That is what is meant by interpretation and -expression. - -You should study to be a good listener as well as a good player, if you -are to be a real Musician. Hear all of the beautiful music that you can, -whether it be on your instrument or on some other. Music is bigger than -any specific means for expressing it, and with you, Music should be the -first consideration. - -The Exercises this week are 9, 14, 23, and 31. - - - - - LESSON 20. - - -I sometimes tremble when I realise how slight is the difference between -success and failure. Success is the child of Audacity. Failure is the -offspring of discouragement. - -There was a great inventor, once—great not because of his worldly -possessions, but because he dreamed the most beautiful visions of -helping humanity to bigger and better things. He had worked long and -arduously on one of his ideas hampered by lack of funds, lack of -friends, and (I am sorry to say) lack of food. - -All the night through he had toiled over his model. There was just one -little part needed to give the necessary movement, but the proper -thought eluded him. - -The cold gray dawn of another toilsome day found him discouraged and -alone on a damp, park bench. He was thoroughly hopeless and ready to -give up his idea and his ideal. True, the successful culmination of this -experiment would mean fewer accidents in a great industry, and fewer -lives sacrificed to unnecessary carelessness. But why struggle longer? -The world called him visionary and an impractical dreamer. Why fight? - -Indeed, the fight had clean gone out of him. Death, breakfast, or the -lock-up were equally welcome to him. He was through! - -And then, the little thing happened. The doorway across the street was -opened. Through it came a piping childish voice in joyous morning song. -Little feet pattered down the steps and soon the lisping notes came from -directly at his side, while a trusting little hand slipped confidently -into his. And at that minute the problem was solved—somebody trusted -him, somebody cared! - -Exercises 11, 22, 24, and 30. - - - - - LESSON 21. - - -Half the giant’s strength is in the conviction that he is a giant. The -strength of a muscle is enhanced a hundred-fold by the will power. The -same muscle, when removed from the giant’s arm—when divorced from the -force of the mighty will—can sustain but a fraction of the weight it did -a moment before it was disconnected. - -If you have been studying these lessons aright, you have not only -developed strong muscles, but you have also developed an understanding -of the tremendous power you wield over them. - -When your brain wills that the finger move quickly and with precision, -it should be enough. Without thought, effort, your will should be -carried out. There should be no faltering about this movement because -the demand was definite, and the muscles have been trained in obedience. - -Whenever you are called upon to play, always bear in mind your complete -mastery over your fingers. You have nothing to worry about. You can -depend on your tools. Give your attention to the soul meaning of the -composition you are playing; or, if you are doing accompaniment work, -make a conscious effort to efface yourself and make the soloist stand -out, the predominant influence. - -In passing from the silent exercises to the instrument, you must be -careful still to maintain the correct muscular movements. - -Practice Exercises 13, 21, 24, and 30. - - - - - LESSON 22. - - -Candidly, there is lots of room at the top in the world or music, just -as in any other line of endeavor. On the other hand, there is a -clammering, cluttering turmoil down at the bottom. Your own position is -like that of a sensible tourist in the Alps who hires a competent guide -and provides himself with the necessary trappings for safe climbing. - -There is no law to prevent this traveler inviting the guide to sit down -with him at the hotel in the valley and play pinochle. True, he pays -pretty heavily for the unused equipment and for the companionship. -Besides that, he never does see the glories of the heights. But that is -his privilege. - -What are you doing with your musical equipment and the helpful guidance -which has been yours? Are you enjoying yourself in the companionship of -the valley, or are you daring the paths of the mountain? - -I can but urge you to struggle upward. You are not beating a new path. -The way is so plainly outlined before you you need only actively aspire -and soon the reward must be yours. - -Specifically, what is there in store for the master Musician? - -There is the profession of teaching. That ability is something that no -one can ever take from you once you acquire it. There is professional -playing in Church, Concert, and Orchestra. Later on, you may wish to -take our easy course in Harmony and Composition, so that you can also -write and arrange music. It is thoroughly worth while. Particulars on -request. - -This week, take Exercises 15, 20, 29, and 31. - - - - - LESSON 23. - - -Suppose you do make mistakes sometimes. Is that anything to be -discouraged about? Not at all. If only you learn by your mistakes and do -not repeat the same one too often, you are well on the road to -improvement. The only person who never makes an error is the person who -never does anything. Steer clear of such a person. - -But you who have practiced the Method of AUTOMATIC FINGER CONTROL -faithfully have less to worry about as regards making mistakes than the -average student. Your fingers are especially trained to go the right -place at the right time without any conscious effort on your part. If -you have not yet achieved this degree of skill, the thing to do is—not -complain—but devote a little more time to strengthening up the still -recalcitrant muscles. - -Above all, keep moving. Don’t get stagnant. - -Idleness never won distinction in the world, and never will. The world -does not owe us a living, but each one of us does owe the world honest, -sincere work in whatever field we may choose for our endeavors. God made -man for employment and we cannot dodge the issue. - -That means that everything we do must be done effectively. When we are -earning our daily bread, we must give our best. When we are playing, we -must play honestly. When we are studying, we must strive earnestly. Only -as we do this can we enjoy life’s bounties to the full and win the -progress we desire and deserve. - -Exercises 10, 17, 19, and 26 for this week’s study. - - - - - LESSON 24. - - -With this lesson you end your first reading of the Method of AUTOMATIC -FINGER CONTROL. I trust that none of you will consider the work -finished, however, because you have only done the primary work. With the -greater strength of muscle and the broader understanding of the Method -itself, you are now in a position to reap even more astounding benefits -than you have already experienced. - -There is no extra charge for this privilege. All that you are required -to do is to start at the beginning again and go through the entire -course as before. You will be surprised how many things you missed the -first time over. - -The brain develops in direct proportion to the studying you do. And your -understanding and appreciation increases to just the same extent that -your brain develops, so it stands to reason that you are in a better -position to benefit by this course today than you were six months ago. - -What you have already got out of AUTOMATIC FINGER CONTROL depends on -what you have put into it. It is like putting money in a bank and taking -it out with interest. You put your time in with the specific knowledge -that years of study have made available to you in easily absorbed form, -and you take out a distinct saving in time and effort in learning to -play your favorite instrument. - -I believe that your success has already fully justified your every -effort. In parting, let me assure you that you will always find that -this formula works. - -Effort in a worthy cause brings RESULTS. - -Exercises 12, 16, 18, and 28 complete this Course. - - - - - EXERCISE 1. - - -[Illustration] - -Hold your right hand before you, double up your fist tightly, thumb on -the outside of the fingers. The hand turned with the palm side facing -you. Open the hand briskly and with considerable effort, letting it turn -around, so that the back of the hand is now turned toward you. Be sure -to get this point and turn the hand around as you open the fingers. As -you open the hand, be sure to keep the fingers stiff and bend them back -from the wrist as far as possible. Repeat this exercise twenty times. - - - - - EXERCISE 2. - - -[Illustration] - -Lift your elbows nearly as high as your shoulders. Lay your left hand, -palm up, straight across your chest, so that there is a straight line -from the elbows to the finger tips. The fingers of the right hand with -the palm turned down are laid on the fingers of the left. Twist the -hands and forearms in opposite directions, until the hands come again -into a similar position, but with the palm of the right hand up. Reverse -the action briskly. Go through the cycle twelve times. - - - - - EXERCISE 3. - - -[Illustration] - -Open the left hand out flat with the fingers loosely apart. - -Grasp the little finger with the thumb and fingers of the right hand. -Very gently bend it backward, as far as it will go without straining. -You must be careful not to overdo this at first. Now bend it forward to -the palm; back again and to the right and left. - -Do this six times, allowing the little finger to move freely. - -Now repeat the exercise, only instead of allowing the little finger to -move freely, try to hold it rigid and immovable. Of course the muscles -of the little finger will be unable to stand the greater strength of -your right hand, and it is intended that the finger should move, but in -each case it should move against the resistance of the finger muscles. -Repeat this exercise against resistance fourteen times. - -Go through this entire process with each of the other fingers and the -thumb of the left hand. Then take up the exercise with each of the -fingers of the right hand, moving them with your left. - - - - - EXERCISE 4. - - -[Illustration] - -Lay the left hand flat palm down on a table, book, or other smooth -surface. Open the thumb out of the way of the fingers. - -Grasp the index finger of the left hand with the thumb and finger of the -right hand. Allowing the finger to move freely, draw it along the -surface as far as possible without straining the muscles. Do this five -times. Now with the finger muscles resist the movement, and repeat the -exercise five times more. - -Allowing the finger to move freely once more, lift it from the table in -a large semi-circle, and swing it over towards the thumb and down to the -table again. Repeat five times. - -Go through this same movement five times with muscle resistance. - -Carry out these exercises on the other fingers of the left hand, and -then on all of the fingers of the right hand. - - - - - EXERCISE 5. - - -[Illustration] - -Put your right hand and arm down at your side, fingers extended. Keeping -the elbow and upper arm close to the body, bend the arm briskly at the -elbow, still keeping the hand open, and in a straight line with the -forearm. Repeat this exercise twelve times with the palm of the hand -turned toward the shoulder, and twelve times with the palm of the hand -turned away from the shoulder. - -Now raise the upper arm, so that the elbow bends slightly upward from -the shoulder. Repeat the same bending action of the elbow twenty times. -The position of the hand is immaterial in this exercise. - -Go through these motions with the left arm. - - - - - EXERCISE 6. - - -[Illustration] - -Hold your left hand up in front of you with the palm facing you. Press -the index finger and the middle finger tightly together. Bring the two -still held tightly together down to the palm, and then back straight -again, quickly, briskly and with muscular resistance. The motion should -be from the knuckle joint. Naturally the other fingers will have a -tendency to curl. It makes no difference if they do. Repeat this -exercise twenty times. - -Next practice this exercise using the middle and the ring fingers -pressed together, letting the little finger and the index finger remain -as straight as possible. - -Do the same exercise with the little finger and the ring finger -together. - -These same motions should be gone through with the right hand. - - - - - EXERCISE 7. - - -[Illustration] - -Bring the finger tips of the right hand together with the tip of the -thumb, spreading the fingers at the middle knuckle and rounding the -whole back of the hand. From this position snap the whole hand out flat, -with the fingers spread wide apart. Do this forcibly. Quickly return to -the original position and repeat the exercise twelve times. - -This same exercise is to be performed with the right hand. - - - - - EXERCISE 8. - - -[Illustration] - -Raise your left arm so that the elbow is sticking out in front of you -almost as high as the shoulder. Bend the arm at the elbow, so that the -forearm reaches straight up in the air. Close your hand loosely. With a -rotating movement of the upper arm, bring your fist down as low as it -will go, still keeping the elbow at the same spot. Return to the -original position. Repeat this exercise twelve times. At first it will -be advisable to do this rather slowly and without too great effort, -because of considerable strain in the region of the shoulder blade. -Later, as the muscles become stronger and more supple, you can increase -the speed and the intensity of the effort. - -Repeat the same exercise with the right arm. - - - - - EXERCISE 9. - - -[Illustration] - -Stand straight with the arms down at your side. Double up your right -fist. Keeping the arms straight, swing it back as far as possible and -then front until it is directly overhead. Just the same as you do when -you swing your arm in walking, only more so. Continue swinging the arm -this way, but instead of swinging it back at your side, move it around, -so that your arm finally swings up across the chest to the overhead -position. The idea is to swing it, changing the plane gradually so that -you pass through all the different positions between the side plane and -the chest plane. - -Repeat the same motions with the left arm. - -Standing straight in military position as above, raise your right arm -straight out from the shoulder, fist closed. Without bending the elbow, -swing the arm back and forth as far as possible, on a level with the -shoulders. Raise the arm a little and continue this swinging movement, -each time raising it a little higher, then gradually descend passing -from the shoulder level and continuing down. - -Perform the same exercise with the right arm. - -Caution:—These exercises must not be done too strenuously at first, as -there is a severe strain on the shoulder blades. After the muscles -become a little hardened, you can carry out these exercises with more -vigor and about ten times in each of the varying positions. - - - - - EXERCISE 10. - - -[Illustration] - -Open out the left hand before you, with the fingers close together. Hold -the thumb apart. Move the first finger as far toward the thumb and away -from the other fingers as possible, and back again. Do this gently and -easily five times. - -Now let the muscles of the hand and fingers become tense, so that as you -draw the finger over towards the thumb with one set of muscles, the -opposing set resists the motion. Repeat this ten times. - -Go through this same movement with each of the other fingers of the left -hand and then with each of the fingers of the right hand. - - - - - EXERCISE 11. - - -[Illustration] - -Hold out your right hand, the palm facing you. Separate the little -finger slightly from the rest. With a brisk, sharp movement, twist the -hand at the wrist to the left, so that the little finger moves down as -low as possible. Repeat this exercise twelve times. - -Perform the same exercise twelve times with the left hand. - - - - - EXERCISE 12. - - -[Illustration] - -Open the left hand, thumb and fingers, all close together, turning the -hand so that the thumb is towards your body and the little finger away -from it. Bend the first finger at the knuckle joint, and nowhere else, -and bring it down toward the palm of the hand until it is horizontal, -that is at right angles to the plane of the palm and the other fingers. -If it will not come down of itself, help it a little with the other -hand, but be careful not to strain the left hand muscles when you are -first starting this exercise. Try not to move the other fingers of the -left hand while you are bending the index finger downward. Repeat this -motion ten times. - -Go through this exercise with each of the other fingers in turn. - -The first day you do this exercise, do it without any muscular -resistance to the motion. Afterwards, from day to day, add more and more -resistance as the fingers become stronger. - - - - - EXERCISE 13. - - -[Illustration] - -Hold the right hand edgewise before you, the thumb towards the chest. -Have the fingers closed tightly together and bring the thumb firmly -against the first finger. With a sharp, quick action, open the thumb -away from the finger, so that it points over your shoulder; at the same -time bending the entire hand sideways at the wrist, bringing the thumb -still nearer the shoulder. The movement must be quite snappy to get the -desired effect. Repeat twelve times. - -Perform this exercise twelve times with the left hand. - - - - - EXERCISE 14. - - -[Illustration] - -Extend both hands in front of you, palms together; the fingers of each -hand held tightly against those of the other; the thumbs separated from -the fingers and pointed toward you. - -Raise the elbows from the body, then slowly and with muscle resistance, -move the palms apart. Leave the fingers together from base to tip. Just -as slowly and with muscle resistance, close the palms again. Repeat this -exercise five times. - - - - - EXERCISE 15. - - -[Illustration] - -Hold your left arm across the chest palm up, but with the wrist bent as -far down as possible, the fingers easily curled. Place the right arm in -a similar position, but with the palm down, having the wrist of the -right hand bent upward and fingers similarly curled. Lay the finger tips -of the right hand on those of the left. From this position twist the -forearms in opposite directions until the finger tips again come -together, this time the palm of the right hand bent up, and of the left -bent down. - -Reverse the motion and repeat the exercise twelve times. - - - - - EXERCISE 16. - - -[Illustration] - -Extend the left hand and close the fingers down to the palm, keeping the -knuckle joints straight and bending only the two outer joints. - -Holding the other fingers motionless, straighten out the index finger. -You must be careful throughout the entire exercise, never to move the -knuckle joint. Repeat five times without muscular resistance, then go -through the exercise with the muscles tense, so that one set resists the -motion of the other. - -Practice this exercise on each of the remaining fingers on the left hand -and on all of the fingers of the right. - - - - - EXERCISE 17. - - -[Illustration] - -Stand erect, shoulders back, and without bending forward, lean far over -to the right from the waist line. As you do this, let the right hand -bend toward the left knee. While in this position, make a short but -strong thrust, entirely from the right shoulder which will bring the -fingers of the right hand possibly an inch nearer the left knee. -Straighten up, bend to the left and thrust out the left shoulder. Repeat -this exercise first with the right and then with the left twelve times. - - - - - EXERCISE 18. - - -[Illustration] - -Hold the right hand before you, the fingers relaxed, and slightly -curved, palm facing you. Grasp the second, third and little fingers -gently with your left hand, and bend the forefinger down to the palm -from the second joint. Use considerable pressure each time you bring the -finger down to the palm and repeat the exercise eight times, allowing -the finger to become fully relaxed between each motion. - -Repeat this exercise for the middle finger ten times. - -For the ring finger, do this exercise twelve times. - -For the little finger, do this exercise ten times. - -Proceed with the same series of exercises for the left hand. - - - - - EXERCISE 19. - - -[Illustration] - -Hold your left hand before you, the fingers bent down to the palm, and -reaching as far toward the wrist as possible. Extend the first finger. -Open gradually so as not to move the others. Do this five times without -muscular resistance and five times with. - -Go through the same exercise with each of the other fingers. - - - - - EXERCISE 20. - - -[Illustration] - -Place the hand on any flat surface and keeping it straight, raise the -first finger as far as you can from the table. Do not bend any joints -save that at the knuckle. Repeat this ten times using increasing -muscular resistance. - -Perform this exercise with each of the fingers. - - - - - EXERCISE 21. - - -[Illustration] - -Place the hand on a flat surface with the fingers curved so that just -the tips and the base of the palm touch the table. Raise and lower the -fingers one after the other slowly and with muscular resistance. Bring -the fingers down with considerable pressure each time. Repeat twenty -times with each hand. - -With the fingers in the same position raise the thumb as high as -possible, and bring it down sharply to the table. Repeat twenty times -with each thumb. - - - - - EXERCISE 22. - - -[Illustration] - -Open the left hand with the fingers together but the thumb out of the -way. Move the index finger so that the tip of it circles around down -toward the palm, over to the thumb, to the back, and returns to the -original position. Keep the fingers straight all of the time. Repeat -this without muscular resistance five times. - -Now stiffen the muscles of the finger, so that one set resists this -motion, while the other set overcoming the resistance, causes the finger -to circle as before. Repeat five times. - -Go through the same exercise with each of the other fingers of the left -hand, and then with all of the fingers of the right hand. - - - - - EXERCISE 23. - - -[Illustration] - -Extend the fingers of the left hand, with the little finger away from -you and the thumb opened and pointing away from the palm, that is toward -your right. Bring the index finger down until it is at right angles to -the palm, bending only at the knuckle joint. - -Let the knuckle joint straighten up again and at the same time bend the -other two joints of the finger, so that the finger tip goes down to the -palm of your hand. Repeat this exercise five times without resistance, -and then five times with resistance. - -Continue the exercise of each finger of the left and right hands. - - - - - EXERCISE 24. - - -[Illustration] - -Lay the right hand flat on a table or other hard plane surface, fingers -and thumb far out-spread. Press firmly with the whole hand on the table. -Continuing this downward pressure, exert an upward pressure against it -with the finger tips, and raise the body of the hand about 1½ inches -from the table top. Throughout this entire exercise try to keep the back -of the hand parallel with the table. After you have reached the desired -height, press the hand down to the table top again against muscular -resistance. Repeat this exercise ten times. - -Perform the same exercise with the left hand. - - - - - EXERCISE 25. - - -[Illustration] - -Place the elbows at the side, forearms horizontal, with your hands out -in front of you. Bend the hands downward at the wrist with the fingers -loose and gently curved. Then bend the hands upward from the wrist as -far as they will go. This exercise may be done with both hands at the -same time. Repeat ten times. - -With your forearms extended in front of you, and the hands held straight -out, fingers spread wide apart, palms down, move the hands at the wrist -slowly from side to side with considerable muscle resistance. Do not -move the arm. All motion must be from the wrist, and in a side-wise -direction. Repeat ten times. - -Extend the forearms and hands in front of you, palms up, with the -fingers held close together. Moving from the wrist as a pivot, and from -no other joint describe as large a circle as possible with the finger -tips using muscular resistance, slowly ten times, then reverse the -motion and repeat ten times circling back in the opposite direction. - - - - - EXERCISE 26. - - -[Illustration] - -Fold the hands together, fingers interlaced. Hold them tightly closed. -Now raise the first finger of the right hand and bring it back slowly -with muscles tense, just as far as you possibly can, pressing the other -fingers hard against the backs of the hands. - -Repeat this exercise twelve times for each one of the fingers. - - - - - EXERCISE 27. - - -[Illustration] - -Extend the left hand before you, fingers close together. Moving only the -joint down near the wrist, swing the thumb around in a circle. Do this -five times without muscular resistance and five times with. - -Repeat this exercise with the thumb of the right hand. - - - - - EXERCISE 28. - - -[Illustration] - -Lay your right hand, palm down, flat on any plane surface. Press the -fingers quite firmly down on the table. Place the forefinger of the left -hand on the nail of the forefinger on the right hand with a slight -amount of pressure. Raise the forefinger of the right hand as high as -possible from the table against this pressure. Keep the forefinger of -the right hand straight, save at the knuckle joint, and the other -fingers firmly on the table. Return the finger to the table against -muscular resistance. Repeat this exercise twenty times. - -Go through this same exercise with the other fingers of the right hand, -then reverse and proceed with the fingers of the left hand. - -Do this exercise with the thumb nail, but instead of having the whole -hand flat on the table, have the fingers curl, so that the side of the -hand touches the table, and raise the thumb against the pressure of the -finger of the opposite hand twenty times. - - - - - EXERCISE 29. - - -[Illustration] - -Extend both hands in front of you, palms together, the fingers of each -hand held tightly against those of the other, the thumbs separated from -the others and pointed toward you. - -Raise the elbows from the body, then slowly and with muscular resistance -move the palms apart, keeping only the tips of the fingers together. -Push hard with the finger tips against each other. Just as slowly and -with muscle resistance close the palms again. Repeat this exercise five -times. - - - - - EXERCISE 30. - - -[Illustration] - -Extend the left hand and spread the fingers and thumb as far as -possible. Slowly, and with muscular resistance, bring the tip of the -first finger and the tip of the thumb together, forming a circle. Return -to the original position. Repeat ten times. - -Do this exercise with each of the other fingers of the left hand, and -then with each of the fingers of the right hand. - - - - - EXERCISE 31. - - -[Illustration] - -Fold your hands together interlaced. Hold them together tightly. Now -against muscular resistance, slowly open the palms and the base of the -wrist and as slowly close them together again. Repeat this exercise ten -times. - - - - - FIRST EXAMINATION - - - 1. What time do you practice AUTOMATIC FINGER CONTROL each day? - - 2. How many times have you missed your practice periods during this - first six weeks? - - 3. Do Exercise No. 1 twenty times with the left hand. Do the muscles - between the wrist and elbow feel tired? - - 4. Take Exercise No. 12 first with the left hand and then with the - right. Which muscles feel tired from this? - - 5. What marked improvement have you already noted from practicing - AUTOMATIC FINGER CONTROL? - - - - - SECOND EXAMINATION - - - 1. Take Exercise 14. How far apart can you separate the base of the - palms without separating the fingers? - - 2. Which muscles does Exercise 17 tire? - - 3. Which finger of which hand feels most tired after Exercise 18? - - 4. Do Exercise 18. How high can you raise the ring fingers? - - 5. In which muscles have you noted greatest improvement so far? - - - - - THIRD EXAMINATION - - - 1. Can you do Exercise 25 without tiring any muscles? If not, which? - - 2. Do you perform Exercise 30 quickly or slowly? - - 3. What time each day do you practice AUTOMATIC FINGER CONTROL? - - 4. How many days have you gone without practicing at all? - - 5. Just how does having stronger, more supple fingers help you? - - - - - FOURTH EXAMINATION - - - 1. Which exercise of this course did you find most difficult? - - 2. Do you still have trouble with any exercises? Which? - - 3. Are you able to master your lessons at the instrument more rapidly - now than when you took up AUTOMATIC FINGER CONTROL? - - 4. Take Exercise 16 with muscle resistance, ten times instead of five. - Can you do it equally well with each finger? - - 5. Write me all of the ways in which AUTOMATIC FINGER CONTROL has - helped to make a good player of you in shorter time and with less - practice at the instrument. - - - - - POST SCRIPT - - -You have something more today than you had six months ago before you -took up AUTOMATIC FINGER CONTROL. You have a nest egg. And yet, it is -something more valuable, even, than a nest egg in its ordinary sense of -capital. You have a specific knowledge and ability and dexterity that -can never be taken from you. If you have carried out the exercises of -this course in accordance with the instructions, you are already far on -the way toward the supreme mastery of your instrument. - -We are always glad to hear of this progress from our students. Write us -and let us know of the marvelous results attained in your own case. - -But capital, to yield returns, must be put to work. And so must your -new-found art. You have strengthened and trained your fingers to greater -skill than that enjoyed by the average musician. You should take -advantage of that fact. - -Fundamentally, there is a strong similarity between all of the -instruments. They all require the use of the same finger muscles. They -all make use of notes. - -Herein lies a wonderful opportunity for you to make music more and more -valuable and profitable to you as the years go by. You are now ready to -take up further musical study. We strongly recommend that each student -learn to play not only one instrument, but several. It is not hard with -the start you already have. We make very attractive offers to our -students who take up the study of a second instrument. If you are in -doubt as to what instrument to study next, write us. And sooner or -later, you should also study Harmony, Composition and Voice. - ------------------------------------------------------------------------- - - - - - TRANSCRIBER’S NOTES - - - 1. Silently corrected obvious typographical errors and variations in - spelling. - 2. Retained archaic, non-standard, and uncertain spellings as printed. - 3. Enclosed italics font in _underscores_. - -*** END OF THE PROJECT GUTENBERG EBOOK AUTOMATIC FINGER CONTROL *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. 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S. School of Music</div> - -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Automatic finger control</p> -<p style='display:block; margin-top:0; margin-bottom:1em; margin-left:2em; text-indent:0;'>Seventh Edition</p> - -<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: U. S. School of Music</div> - -<div style='display:block; margin:1em 0'>Release Date: November 24, 2021 [eBook #66816]</div> - -<div style='display:block; margin:1em 0'>Language: English</div> - -<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> - -<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Richard Tonsing, Linda Cantoni, Charlene Taylor and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</div> - -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK AUTOMATIC FINGER CONTROL ***</div> - -<div class='tnotes covernote'> - -<p class='c000'><strong>Transcriber’s Note:</strong></p> - -<p class='c000'>The cover image was created by the transcriber and is placed in the public domain.</p> - -</div> - -<div class='titlepage'> - -<div> - <h1 class='c001'><i>Automatic Finger Control</i></h1> -</div> -<p class='c002'>A Scientific Method that gets at the very -foundation of Musical Skill. Discloses fully -the secrets that make it possible to learn to -play any instrument easily and quickly. Taught -only by the U. S. School of Music. For beginners -and advanced pupils. Can be used in -conjunction with any method of instrumental -instruction.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div><i>SEVENTH EDITION</i></div> - <div class='c003'><span class='xlarge'>U. S. SCHOOL OF MUSIC</span></div> - <div><span class='large'>225 Fifth Avenue</span></div> - <div><span class='large'>New York</span></div> - <div class='c004'><span class='small'><i>Copyright 1921 by U. S. School of Music</i></span></div> - </div> -</div> - -</div> - -<div class='chapter'> - <h2 class='c005'><i><span class='under'>Preface to the Second Edition</span></i></h2> -</div> - -<p class='c006'>There is one point which I wish to stress at this appropriate time. It is something -that will prove of great aid to every student of this advanced, intensely practical, time saving -method. That is the habit of regular practice.</p> - -<h3 class='c007'>CHOOSE A DEFINITE PRACTICE HOUR</h3> - -<p class='c008'>It has been suggested in the course, that you practice the exercises outlined night and -morning. This is my best advice on the matter. There is a definite reason for this. -The things which you do just before you sleep at night are more apt to be remembered -than those which you do at odd times during the day. That is the reason for -choosing bed time for one period of exercise.</p> - -<p class='c009'>You will find that if you have given concentrated thought and attention to the bed -time work, that in all probability AUTOMATIC FINGER CONTROL will be the first -thing you think of in the morning. And this is just the time to clinch the bargain. Get -busy at once and do the exercises over again.</p> - -<p class='c009'>If you follow this procedure, you will learn very rapidly, and soon, the muscles will -begin to keep time with your brain, which, after all, is the secret of the whole thing.</p> - -<p class='c009'>But even supposing you cannot find it convenient to run through the exercises night -and morning. I know that some of our students can’t very well take the time first thing -in the morning. Yet, you should definitely decide when you can most conveniently do the -work, and then do it regularly at that same hour day after day.</p> - -<h3 class='c007'>FAVORING THE MIND</h3> - -<p class='c008'>The mind is a most wonderful thing. One could devote years and years to its study. -Indeed, many people already have, and even yet, we know very little about it. But out -of all of the maze of study and experiment, we have discovered that the mind responds -best under certain definite circumstances.</p> - -<p class='c009'>It is particularly interesting to note the little foibles of composers and writers. Some -authors only write at night. Some only when standing at their desks. Some do their best -work when out in the open.</p> - -<p class='c009'>Haydn always wanted to have on his finger the ring which Frederick the Great gave -him, when he started out to write a composition.</p> - -<p class='c009'>Rossini liked to write in bed. So did our dearly beloved humorist, Mark Twain. -And so it goes. Funny in one way, and yet, not funny at all. These people are merely -favoring the peculiarities of their own minds.</p> - -<p class='c009'>It is hard, especially hard for some people, to take the mind off from one subject and -put it on another. Unless one is easily able to concentrate on the task at hand, the mind -is bound to wander back to the thing we were thinking of previously.</p> - -<h3 class='c007'>AN AID TO CONCENTRATION</h3> - -<p class='c008'>And yet, we must concentrate on these AUTOMATIC FINGER CONTROL exercises -if we are to get the best and most out of them.</p> - -<p class='c009'>Experiment shows that if we plan to study at some definite time each day, the mind -gets into the habit of responding at this particular time and is more ready to work than -if we take up the practice at irregular intervals.</p> - -<p class='c009'>So choose some definite practice periods—bed time, and the first thing on arising if possible, -but some definite time, at any rate. Then, once you have set aside that hour, observe -it religiously as your practice period until something comes up that changes your -whole mode of life sufficiently to warrant setting a new study hour. Never excuse yourself -for even so much as a single day. Seven days a week is the best way to master AUTOMATIC -FINGER CONTROL.</p> - -<p class='c009'>If you will follow these simple suggestions and rules of instruction of this course, -your progress is going to be sure, rapid, and very gratifying.</p> - -<div class='lg-container-r'> - <div class='linegroup'> - <div class='group'> - <div class='line'>THE AUTHOR.</div> - </div> - </div> -</div> - -<div class='chapter'> - <h2 class='c005'><span class='sc'>U. S. School of Music</span><br /> <br /> <span class='large'><span class='sc'>225 Fifth Avenue</span><br /> <br /> NEW YORK CITY</span></h2> -</div> - -<div class='lg-container-l c003'> - <div class='linegroup'> - <div class='group'> - <div class='line'><i>Departmental Memo.</i></div> - </div> - <div class='group'> - <div class='line'>My dear Mr. Kemp:</div> - </div> - </div> -</div> - -<p class='c010'>It is indeed gratifying to report the remarkable -success of the Course in AUTOMATIC FINGER CONTROL. The Sixth -edition is exhausted, and I am placing a requisition for the -Seventh.</p> - -<p class='c010'>There was never any question as to the unusual benefits -that each student would derive from this new, quick way of learning -his instrument. It is a fact established by tests and -experience that training the muscles to work as fast as the -brain—and training them away from the instrument so that the -pupil has only this one thing to think about—does away with -many hours of practice and develops a more perfect technique.</p> - -<p class='c010'>But the thing that pleases me most, is to see the way -our students have taken hold of the work. It seems to me -typical of the Spirit of Progress. People want the very best -they can obtain in the way of instruction. They want to take -advantage of every short-cut. And that shows great wisdom. -Money can be replaced many fold. Books can be replaced. Homes -can be replaced. Every material thing can be duplicated. But -TIME, once spent is forever lost. It is the young man and -woman who takes advantage of those things which save the minutes -and hours and days who make the startling successes in the -world.</p> - -<p class='c010'>So I feel that we are doing a great service to Humanity -at large, and to every lover of Music in particular in bringing -AUTOMATIC FINGER CONTROL to the fore. Indeed, I believe we -would be justified in insisting that every one of our students—beginners -or advanced—cover the work.</p> - -<p class='c010'>Every student who conscientiously follows the easy -exercises outlined in this course is assured of becoming a -better Musician in shorter time, with less effort, and a real -Musician—not a mere player.</p> - -<div class='nf-center-c0'> - <div class='nf-center'> - <div>Cordially yours,</div> - </div> -</div> - -<div class='figright id001'> -<img src='images/signature.jpg' alt='H. P. Longstreet.' class='ig001' /> -</div> - -<div class='lg-container-l'> - <div class='linegroup'> - <div class='group'> - <div class='line'>HPL:V</div> - </div> - </div> -</div> - -<div class='chapter ph1'> - -<div class='nf-center-c0'> -<div class='nf-center c011'> - <div><span class='under'><i>Automatic Finger Control</i></span></div> - </div> -</div> - -</div> - -<div> - <h2 class='c005'>INTRODUCTION</h2> -</div> - -<p class='c006'>There are fifty-nine muscles in each arm, including the hand, which the Musician is called -upon to use in his playing. If each of these are trained to the proper degree, the heaviest -part of the task is accomplished, for not only does the control thus derived perfect technic -and touch, it also helps to overcome nervousness, develops a velvety touch, becomes an -invaluable aid to sight reading, and assists the student in gaining the power to accompany -sympathetically and accurately at sight.</p> - -<p class='c009'>It is not necessary to exercise each of these muscles separately. By careful study, the -method of AUTOMATIC FINGER CONTROL has been reduced to twenty-four weeks’ -work. The exercises should be practiced the required number of times twice daily, preferably -upon arising in the morning, and again in the evening.</p> - -<p class='c009'>Each movement must be brisk, and as complete a contraction of the muscles involved as -possible. Perform the work with one hand at a time rather than trying to use both hands -at once. Close mental attention to the movement involved will increase the benefits derived, -especially in the case of those exercises which require that you set one muscle working -in opposition to another.</p> - -<p class='c009'>Do not, in your enthusiasm, practice these exercises more than directed, nor should you -do them just before your work at the instrument.</p> - -<p class='c009'>This Course comprises 31 exercises. As you will see from the lessons, it is not enough -that each exercise be practiced a single week. Sometimes you will be required to work on a -single exercise for two weeks in succession and from time to time the exercises will be reviewed.</p> - -<p class='c009'>The 31 exercises have been collected and placed in numerical order at the back of the -manuscript. The lessons are found in order at the front. At the bottom of each lesson page -the exercises for the week are delegated.</p> - -<p class='c009'>After you have studied your lesson sheet, turn to the exercises required, for the week’s -work, study them carefully and practice faithfully.</p> - -<p class='c009'>Do not, under any circumstance, run ahead of your course. To get quick results, you -must practice the exercises in the order given, devoting at least a week’s time to each -lesson.</p> - -<p class='c009'>If you are just starting to learn your instrument, complete the first two lessons in -AUTOMATIC FINGER CONTROL before you take up the practice on the instrument. Then -take up the first instrumental lesson and do it in conjunction with Lesson Three of AUTOMATIC -FINGER CONTROL.</p> - -<p class='c009'>Always bear in mind that the main idea of this course is not the strength of the fingers, -nor even their suppleness. The main idea is coordination between brain and muscle, training -the muscles so as to overcome the tendency of the fingers to move more slowly than the mind. -Therefore, give your entire thought and undivided attention to what you are doing as you -practice the daily exercises. If you will do this, your progress will be rapid and sure.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 1.</h2> -</div> - -<p class='c006'>You are starting something new—something that is going to -play a BIG part in your musical success. The degree and speed -of this success depends on one thing—YOU.</p> - -<p class='c009'>Take warning from the old adage—“A new broom sweeps -clean.”</p> - -<p class='c009'>You must strive for moderation in all things. During -the first few weeks, you will be tempted to give too much time -to the following exercises. During the later weeks, you may -be tempted to neglect them because of the marked improvement -which you have already received. But be determined. Go -through with the entire course just as it is outlined. Do each -exercise the exact number of times each period that is called -for. And do the entire set both night and morning.</p> - -<p class='c009'>It is important that you do the various movements with -considerable effort because the complete contraction of the -muscles obtained in this way tends to squeeze the blood out of -them, thus drawing a new supply of fresh, nourishing blood in -replacement. In this way, you not only strengthen the muscles -by the movement, but you also feed both them and the nerves.</p> - -<p class='c009'>The fingers and wrists must bear a heavy part in the -playing of any musical instrument, therefore, we will devote -ourselves exclusively this week to strengthening these. If the -muscles tire easily and tend to stiffen up, go a little easy -the first few days, but do some work each and every day. The -improvement will be all the more noticeable, as you are evidently -unusually in need of stronger fingers.</p> - -<p class='c009'>Practice Exercises 1, 2, 3, and 4 this week.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 2.</h2> -</div> - -<p class='c006'>How are the fingers this week? Did they feel effect of -starting regular practice? Even if they did, the temporary -lameness should be gone by now. And we must continue these -same movements another week. Pluck, remember, is that spirit -in man which fails to understand despair—which keeps a man up -even when he seems to be down. Do not falter. Keep everlastingly -at it.</p> - -<p class='c009'>We add, in this lesson, an exercise for the forearm. -This is the next territory of importance to be brought under -control. You will have no difficulty with this new exercise. -The movement is of especial interest to students of the Piano -and Organ, though every musician should have the muscles -involved under perfect command.</p> - -<p class='c009'>One of the greatest joys in playing is the ability to read -at sight, and to play accurately and with feeling.</p> - -<p class='c009'>AUTOMATIC FINGER CONTROL brings this finished ability -more quickly than any other means, for it teaches you once and -for all how to manage your fingers. The correct action soon -becomes <span class='under'>automatic</span>, indeed, and then your full attention can be -given to the beautiful hidden meanings of the piece you are -playing. That is the highest meaning of technic—to be able to -play without any thought of the mechanical “how.”</p> - -<p class='c009'>If you are studying these lessons in conjunction with an -instrument, it will be well, for the first few weeks to give -more attention to the Finger Control exercises than to practicing -on the instrument itself.</p> - -<p class='c009'>In this way, when finally you do begin to play, your advancement -will be rapid and satisfactory.</p> - -<p class='c009'>For this week, practice Exercises 1, 2, 3, 4, and 5.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 3.</h2> -</div> - -<p class='c006'>You should be coming along in good shape, now, so you are -to have two new exercises this week. One of them is particularly -for the hand. It is barely possible that this exercise of -snapping the fingers open will cause the wrists to tire. Do -not be discouraged by this. That is a sure indication that you -are in particular need of strengthening of these muscles, and -once they are built up, you will find yourself doing constantly -better work on the instrument.</p> - -<p class='c009'>The second of the new movements is for strengthening the -upper arm. Remember to take it easy at first until the -shoulder feels strong enough to resist the strain that is brought -to bear upon it. This valuable exercise will be continued -next week.</p> - -<p class='c009'>Many students find it convenient to learn the exercises -for the week by heart, and then practice them at odd moments as -on their way to work. This is quite satisfactory, and if you -are pressed for time, it is a good idea to get into this habit. -BUT, be sure that you get in your two full periods each day.</p> - -<p class='c009'>Review work in any study is of utmost importance. After -an exercise has been dropped from the current week’s lesson, -make it a point to do it, just the same, at least once or twice -a day. In this way, not only will you be assured of losing -nothing of the work that has gone before, but you will also -progress faster with the new. All of the muscles depend more -or less on each other, and what helps one, helps all.</p> - -<p class='c009'>And remember—decision of character outstrips even talent -and genius in the race for success.</p> - -<p class='c009'>Exercises 5, 6, 7, and 8 this week.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 4.</h2> -</div> - -<p class='c006'>Are you in tune?</p> - -<p class='c009'>The finest Stradivarius is only a sounding board and four -strings—unless it is in tune. And then, it becomes a messenger -of the soul, indeed.</p> - -<p class='c009'>So is it with each one of us. If we are in tune with the -Infinite, the sky is blue vaulted above us; the birds cleave -the sky with sweetest of music; there’s a song in the heart, -and a smile on the lips.</p> - -<p class='c009'>How can we hope to interpret the secrets of the Master-workers -in Music unless we ourselves are in tune? Take stock -of yourself each day and see if you are really <span class='under'>living</span>.</p> - -<p class='c009'>The new exercise this week is for strengthening the -fingers as well as for limbering up stiff joints. Around each -of the finger joints, there are transverse ligaments—bands of -muscle which hold the lengthwise finger muscles in place and -bind them to the bones.</p> - -<p class='c009'>Unless one is using his fingers in a special and unordinary -way, these ligaments become stiff and inflexible, so that the -movement of the fingers is greatly hindered.</p> - -<p class='c009'>It is absolutely essential that these muscles should be -limbered up and kept soft and pliable if you are to get any -satisfactory movement of the fingers at your instrument.</p> - -<p class='c009'>Do not overlook any of these exercises, new or old. Each -is designed to accomplish a certain definite object. Each must -be practiced a certain, definite number of times to get the -best results.</p> - -<p class='c009'>This week, do Exercises 6, 7, 8, 9, and 10.</p> - -<div class='chapter'> - <h2 class='c005'>Lesson 5.</h2> -</div> - -<p class='c006'>Test out your ideals.</p> - -<p class='c009'>What is it you have in mind to accomplish? Unless you -have the way plainly charted before you, unless you are guided by -the ever glowing light of a great ideal, you are almost certain -to be dashed upon the rocks of failure.</p> - -<p class='c009'>We graduate from the School of Life only with the coming -of Death. To some of us, Death comes early; to others, long -years are granted for delving into the ever changing mystery of -being. But withal, what we accomplish, is dependent on the ideal -that guided and urged on our step.</p> - -<p class='c009'>Genius is infinite painstaking.</p> - -<p class='c009'>It is the determination bravely to learn the truth about -ourselves and our fellow men. With a fixed determination and -a fixed ideal, YOU are of genius calibre!</p> - -<p class='c009'>A month ago you set out to learn to play by the Short-Cut -Method. This method holds unquestionable advantages which -are available in no other way. It saves weeks of weary practice -at the instrument because it enables you to work to the very best -advantage when you DO play. It develops accuracy, speed and -sympathetic understanding.</p> - -<p class='c009'>Here, then, is one ideal—the determination to learn to -play, so that you can give joy to others, and so that you can -take greater pleasure in self expression through the art of -Music. The degree of your success will be measured only by the -sincerity of your purpose. It’s up to you!</p> - -<p class='c009'>As Charles Dana Gibson, the famous artist says—</p> - -<p class='c009'>“There isn’t any trouble with the world, today. The -trouble, if any, is with the people in it.”</p> - -<p class='c009'>Exercises 7, 8, 9, 11, and 12.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 6.</h2> -</div> - -<p class='c006'>You must take particular care with the wrist exercises in -this week’s lesson. Study the cuts until you are thoroughly -acquainted with what is required, and then put considerable -“steam” behind the movements.</p> - -<p class='c009'>The exercise for both hands together will call into play -certain of the finger muscles and strengthen them to the necessary -degree for playing. They will also help to free the -transverse ligaments and thus relieve the fingers of stiffness.</p> - -<p class='c009'>In this exercise, as in every other, a feeling of fatigue -or pain denotes a weak condition of the muscles. It means -proceed with caution. It does NOT mean to drop the exercise. -If the fingers get tired during the first few days of a new -exercise, you may use less muscular resistance for a while, and -in extreme cases, you may be excused from going through the -movements the full number of times.</p> - -<p class='c009'>But always remember, too, that tired muscles are a promise -of exceptional reward. If your need is great—if the muscles -are particularly weak to start with—the benefits you derive from -the proper strengthening and control of them will be positively -amazing.</p> - -<p class='c009'>Elbert Hubbard said “Responsibilities gravitate to the -person who can shoulder them; power flows to the man who knows -how.”</p> - -<p class='c009'>Conditions are unusually good for the rapid advancement of -the man who has the will to conquer—and knowledge of the weapon -in his hands. YOU have both, so I am expecting big things of -you. You would not disappoint me, would you?</p> - -<p class='c009'>This week’s work is Exercises 9, 11, 13, and 14.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 7.</h2> -</div> - -<p class='c006'>Do you ever stop to think how truly marvelous is the Music -of Nature? The babbling brook, the murmuring trees, the singing -birds, the ocean’s roar, the peal of thunder, the crash of -storm, the lowing cow, the rustling grass;—all Nature sings. -But how often we hear and failing to understand, miss much of -the joy of life.</p> - -<p class='c009'>It is only as we understand Nature, and our Brother, and -Ourself, that we begin to understand God. With that understanding -we begin in reality to live and to acquire.</p> - -<p class='c009'>“He who comprehends the <span class='under'>nature</span> of prayer” it has been said -“bends not the knee. He towers in majesty. He goes forth to -meet his own. He ascends the mount and speaks with God.”</p> - -<p class='c009'>Or, as Emerson put it, “The things that are really for -thee gravitate to thee.”</p> - -<p class='c009'>The world is full of good things that are intended -especially for you. But, if you want the best, you must be -ready—through understanding, to receive the best.</p> - -<p class='c009'>You should be applying the benefits of the AUTOMATIC -FINGER CONTROL Method to actual daily playing, now. Are you -doing so?</p> - -<p class='c009'>Just to learn a thing and then stick it away in the closet -of your mind is a poor investment of time, effort, and money. -Put what you know into service, no matter what the subject may -be. It is <span class='under'>action</span> that begets success and commands reward! -Without action, the law of “two plus two equals four” would be an -empty farce.</p> - -<p class='c009'>DO! And do the best you know.</p> - -<p class='c009'>Practice Exercises 11, 13, 15, and 16.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 8.</h2> -</div> - -<p class='c006'>Irresolution is a worse vice than rashness.</p> - -<p class='c009'>He who shoots worst may sometimes hit the mark, but he, -who shoots not at all can never hit it. Irresolution loosens all -the joints of a state; like an ague, it shakes not this nor that -limb, but all the body is at once in a fit. The irresolute man -is lifted from one place to another, so hatcheth nothing, but -addles all his actions.</p> - -<p class='c009'>It will pay you to think carefully on the above quotation -from Feltham.</p> - -<p class='c009'>Also, consider the following beautiful paragraph on -Faith.</p> - -<p class='c009'>Faith is like the primitive granite of old New England. -Dig down deep and you come to it below all superimposed strata. -Go to the summit of the highest mountains and you find it, on -loftiest elevations. Faith begins as the basis of the infants -knowledge; it ends in leading us to know the bigness, the -grandeur of life.</p> - -<p class='c009'>On these two things, to large degree, depends your rapid -success in learning to play through the Method of AUTOMATIC -FINGER CONTROL. You must be filled with the faith and knowledge -that each exercise has its particular place not only in strengthening -the muscles, but in preparing you for the work to come. -And knowing this, you must be filled with resolution to work and -achieve that you never falter by the way—that you never miss a -practice period.</p> - -<p class='c009'>The Exercises this week are 10, 13, 15, and 16.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 9.</h2> -</div> - -<p class='c006'>Do you make it a point to keep physically fit?</p> - -<p class='c009'>We are learning that Music has a great deal to do with -health, and surely health has much to do with your ability to -produce Music.</p> - -<p class='c009'>Music is being used more and more in the hospitals for -quieting and cheering the patients. Music played an important -part behind the lines in the great war in the way of lending -support and courage to those so sorely in need of it.</p> - -<p class='c009'>What, on the other hand, has health to do with Music?</p> - -<p class='c009'>Music is self expression. If that self which produces -the melody be ill, the fact will be reflected in the playing. -Music displays the hurts of the body and the hurts of the heart, -as well. So it behooves us who would be musicians to keep well -in mind and body.</p> - -<p class='c009'>To a great extent, this is just a question of common sense. -Be thoughtful of your eating, your sleeping, and your exercise, -and let Nature care for the rest.</p> - -<p class='c009'>But when misfortune of any kind does overtake you—and we -are all caught at sometime or other—turn freely to your Music -for relief. You will find it. Pour out your soul in the melody -of your instrument. If there is bitter in the heart, let it -come out. Get rid of it. If there is sadness, express it and -replace it then with joy. If there is doubt, play on until at -length comes peace again, and sweet assurance. Music brings -health—and health lends joy to Music!</p> - -<p class='c009'>Practice Exercises 12, 17, 18, and 19 faithfully.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 10.</h2> -</div> - -<p class='c006'>It is necessary to train the muscles to act quickly, -accurately, strongly, and without easy tiring if you are to be -a super-musician. In order to acquire the independent, individual -movement of the fingers, they have to go through the -“awkward squad” stage, it is true; but with the proper, thoughtful -drilling, which these lessons, like an understanding -officer gives, they soon become familiar with the commands and -learn to obey orders.</p> - -<p class='c009'>Obedience is of absolute importance in learning AUTOMATIC -FINGER CONTROL. First obedience that you must give to the -written word of the lesson. And then obedience that you must -demand of the muscles involved. When you want your finger or -whatever it may be to perform a certain movement, do not accept -anything short of perfection from it. Analyze each movement -that seems to give trouble. Trouble—understand—is half -removed.</p> - -<p class='c009'>If you demand perfect obedience from your fingers each and -every time, it will not take long for you to establish that -very desirable connection—or shall we say understanding—between -the brain and the fingers which will free you from the -usual drudgery of fumbling for the notes at the instrument, of -only half comprehending what you are playing, and of getting -tired when you should still be fresh and enjoying yourself.</p> - -<p class='c009'>Thus, the habit of correctness is established. If there -be any <span class='under'>good</span> habits; surely, this is one of the best that a -Musician could acquire. I commend it to you highly. It well -repays your effort in gaining it.</p> - -<p class='c009'>Exercises 17, 18, 19, and 20.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 11.</h2> -</div> - -<p class='c006'>Sometimes, as we go along in a course of lessons, we are -inclined to lose sight of the original purpose. It often is -well to look back and see what we set out to do, and what we are -accomplishing.</p> - -<p class='c009'>In the first place, we started out to develop strength, -flexibility, freedom of movement, independent action, and -perfect control of each one of the fingers. Our purpose in -doing these things is to enable one to save time in learning to -play any musical instrument through specializing on the finger -work which constitutes some nine-tenths of the battle. At the -same time, other benefits are expected—greater self-reliance, -greater accuracy in sight reading, and greater ease in accompanying.</p> - -<p class='c009'>In order to accomplish these ends, we have been freeing -the joints from stiffness and lameness. We have been training -the fingers to move more widely and more freely. And we have -been developing the muscles, so that the fingers have been -developed, strengthened, given greater speed and facility of -action, and their endurance increased.</p> - -<p class='c009'>With greater strength, has come greater independence in -action. By this time, you ought to be well started toward -perfect control of each of the fingers.</p> - -<p class='c009'>Since the whole course is based on careful, scientific -investigation, the work has been built up in difficulty as the -lessons went on, so that there has been nothing really hard -about them. They are interesting and progressive. That is as -it should be. As the course proceeds, whether you have new or -review work, bear in mind that what is given is exactly what -you need, and what will help you most.</p> - -<p class='c009'>Practice Exercises 17, 18, 20, and 21.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 12.</h2> -</div> - -<p class='c006'>Great thought precedes all greatness. No man is great -whose thought is not great.</p> - -<p class='c009'>A pessimist and an optimist were discussing life from -different angles. “I really believe,” said the former, “that I -could make a better world myself.”</p> - -<p class='c009'>“Sure!” returned the optimist; “That’s just what we’re -here for. Now let’s get together and do it.”</p> - -<p class='c009'>If you will get the right thought, and then get to work, -you will accomplish your part in making a better world yourself. -One of the things that the world looks to you to do is to -supply it with music—to bring harmony to quiet its tired and -jangled nerves—to bring joyous melody to liven the grief bound -heart—and to bring an atmosphere of rest to the sick and weary.</p> - -<p class='c009'>With this lesson, you are completing the first half of the -work on AUTOMATIC FINGER CONTROL. You have already had most -of the movements that are necessary for the efficient playing -of your favorite instrument. It still remains to make the habit -of proper fingering second nature. So, although you will find -the old exercises coming up from time to time in the remainder -of the course, do not slight them. Indeed, your muscles should -be so much stronger now, that you can afford to run through -the exercises three times a day instead of only twice. Suppose -from now on you get in a short practice period at noon, as well -as night and morning.</p> - -<p class='c009'>Yes! It will be worth while. Think BIG thoughts about -this, as well as about the rest of your daily tasks.</p> - -<p class='c009'>This week, work on Exercises 17, 18, 21, and 22.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 13.</h2> -</div> - -<p class='c006'>FRIENDS!</p> - -<p class='c009'>Much has been said about friends—many beautiful things, -many apt phrases rich with understanding. To me, a friend is -one who understands me—and loves me in spite of that fact.</p> - -<p class='c009'>One of my dearest friends is my piano, and I feel that -every musician must consider his instrument in this light just -as I do.</p> - -<p class='c009'>When I am tired and discouraged, or when I am joyful and -full of hopeful expectation, it makes no difference what the mood, -my piano responds to my every touch. It sings with me when I -would sing. In minor chord it grieves to see me sad. It can be -light and airy when I will; or if thought runs madly on and on, -lightly touching the heights of exaltation or delving into mirey -depths beneath—still I am not alone. And being not alone, I -stand.</p> - -<p class='c009'>I want you to learn to think of your instrument as a -Friend, for I know the endless joy that such a close communion -is bound to give.</p> - -<p class='c009'>Would you have a friend? Then be one.</p> - -<p class='c009'>It applies with equal force as regards your instrument. -You must understand it just as thoroughly as you long to have -it understand you. That is where AUTOMATIC FINGER CONTROL -should be a constant help to you. It enables you to understand -your instrument so much better.</p> - -<p class='c009'>The exercises take on a simpler mien, now. That is only -possible, however, because of the good work you have already -done. Keep it up!</p> - -<p class='c009'>Starting Review. Practice Exercises 1, 22, 23, and 24.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 14.</h2> -</div> - -<p class='c006'>Let me call your attention to the new exercise.</p> - -<p class='c009'>Its particular purpose is the strengthening of certain of -the finger muscles which will be used quite often in playing, -the limbering up of the fingers, and the stretching of the -muscular covering of the palms. This exercise is not a difficult -movement, by any means, but if you do it with considerable -muscular resistance by the opposing sets, you will bring a large -number of muscles into play at one effort.</p> - -<p class='c009'>The mind is a wonderful, yet peculiar thing. Some of the -fads of great men typically exemplify this. For example, it -is said that Gluck could only compose in the open air. When -the spirit of composition took hold of him, he dragged his piano -out on the lawn, and there evolved his beautiful harmonies. -And yet, to me, do you know, that is not so peculiar after all. -Gluck, I take it, wanted to get close to Nature.</p> - -<p class='c009'>All of us feel the urge to draw nigh to Nature. That is -one of the reasons we so dearly love Music. Music is the -portrayal of Nature at her best.</p> - -<p class='c009'>Another tale they tell is that Chateaubriand dictated his -works in his bare feet. Elegantly attired down to the extremities, -he padded softly up and down the floor, his thin, white -feet and ankles very conspicuous on the dark rugs.</p> - -<p class='c009'>We all have peculiarities of living. And Musicians -generally have similar peculiarities of playing. Do you know -what yours are? Better take stock and see!</p> - -<p class='c009'>Practice this week Exercises 2, 23, 25, and 31.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 15.</h2> -</div> - -<p class='c006'>If you use considerable muscular resistance in practicing -the new exercise of this week’s lesson, you will find that the -muscles used will tire quite readily. This, remember, is proof -that this particular work is badly needed. As the days pass, -however, and these muscles are strengthened to the required -degree, you will find yourself able to perform it a greater -number of times and with perfect ease. As in every other walk -of life, you don’t get anything worth while without effort; but -as with the other exercises of this course, results come surely -and speedily.</p> - -<p class='c009'>Elbert Hubbard has said “Improve your opportunities, -that’s the thing! Decide on what you want to do and what you want -to be and go after it! You’ll win, and those fellows who chase the -pee-wee, manipulate the pasteboards, and inhale cigarette -smoke, will be coming to you for advice, to borrow money, and -for passes to the poor house.”</p> - -<p class='c009'>You notice he said “improve” your opportunities. He -didn’t use that old phrase about “grasping” them. And I -believe this was intentional on his part. Opportunity doesn’t -come to us so much as is commonly said. Opportunity is ever -with us. Opportunity is just what we make it. If we have the -imagination to see the golden chances before us and to <span class='under'>improve</span> -them, we’ll make good.</p> - -<p class='c009'>You are enjoying an unusual opportunity in the Musical -world in that you are permitted to learn to play your instrument -the quick and easy way. Are you improving your opportunity?</p> - -<p class='c009'>Exercises 5, 25, 26, and 27.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 16.</h2> -</div> - -<p class='c006'>In learning to lift weights, athletes start with a very -light load, and by steadily increasing it a little at a time, -they are eventually able to develop tremendous strength.</p> - -<p class='c009'>You remember that old story about the farmer’s boy who, -just a few years ago, made a practice of picking up a calf and -carrying it across the barn yard. Of course, as the calf grew -and became heavier, the farmer boy’s strength increased. It -had to, otherwise he couldn’t have continued to carry the calf -around. And so it went, month after month, year after year. -And now, so they say, the farmer boy is able to throw the bull.</p> - -<p class='c009'>It’s a terrible story, but we’ll overlook that fact if only -it impresses upon you one point I wish to make.</p> - -<p class='c009'>The new exercise in this week’s lesson is based on the same -principle as the weight-lifting methods. You will see that -you apply auxiliary pressure for the finger muscles to work -against. By using greater and greater pressure, you can develop -almost any amount of finger strength that you may desire. So -you should stick to the careful use of this exercise for many -weeks to come.</p> - -<p class='c009'>Speaking of doing an exercise week after week, I sincerely -trust that you are not neglecting your review work. You are -studying these lessons for what you get out of them. If you -really want to get your money’s worth, you must keep going over -the lessons time and again. And each time, I can promise you, -you will find new benefits and pleasures.</p> - -<p class='c009'>Devote your time this week to Exercises 3, 6, 27, and 28.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 17.</h2> -</div> - -<p class='c006'>ENERGY!</p> - -<p class='c009'>Energy is that mysterious something that has the power to -do work—to get results.</p> - -<p class='c009'>We can’t see energy, we can’t smell or taste it, we can’t -hear it, nor is it anything we can feel. <span class='under'>But its results</span>—we -perceive them everywhere.</p> - -<p class='c009'>The heat in our homes and bodies is the result of energy. -The light that guides us by night and that brightens our daytime -is the result of energy. The electricity that turns motors and -carries our messages is another name for that indescribable -something—energy.</p> - -<p class='c009'>But one of the greatest sources of energy is the human -mind. Each one of us has within himself tremendous possibilities. -We can work with our hands, or we can work with our heads. -The choice rests largely with ourselves. And the difference -between a hundred thousand dollar a year man and a ditch digger -is from the ears up. Can one indiscriminately convert himself -between these extremes? I don’t know. It is claimed, however, -that the average person uses only one-tenth of his inherent -mental ability. And I am satisfied that the curse of the age -is mental laziness. How far the ditch digger can rise, I -believe depends wholly on how great an effort and sacrifice he -is willing to make for his advancement.</p> - -<p class='c009'>Every properly guided effort for advancement does, eventually -bear fruit. Move right up front in the forerank of -Musicians! You can, for your effort is properly guided.</p> - -<p class='c009'>Exercises 4, 7, 27, and 28 comprise this week’s work.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 18.</h2> -</div> - -<p class='c006'>It is true that these are days of specialization, but one -must be careful not to miss anything through too narrow a field -of endeavor.</p> - -<p class='c009'>Take Music, for instance. You have taken the AUTOMATIC -FINGER CONTROL Method to enable you to learn to play some instrument -in quicker time than would otherwise have been expected. -AUTOMATIC FINGER CONTROL is a specialized course.</p> - -<p class='c009'>Sometimes, musicians forget that there is another -instrument or branch of Music save their own. That is where -they make a mistake. Every Musician should fit himself to -teach. I don’t say that he should teach afterward, but he -should understand his instrument so well that he is perfectly -capable of teaching it. Indeed, I doubt if one truly knows a -thing himself until he is able to teach it to others!</p> - -<p class='c009'>Many of our students make a business of teaching. -Whether you are going to teach, or not, you should consider -taking up some of the other courses in Music which run right -along parallel with what you are doing. The Unit Lesson System -for Voice Perfection is something that every Musician should -have. It is a very novel method whereby it is possible to get -specific benefits from each individual lesson. It is a complete -Vocal Course, and also teaches Speech Making, Gesture, Overcoming -Nervousness and Stage-Fright, How to develop a winning -Personality, etc. Another course that you could take to -advantage is the one in sight reading. It would be a constant -help. Write for full particulars about enrolling for these.</p> - -<p class='c009'>Exercises 8, 14, 25, and 26.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 19.</h2> -</div> - -<p class='c006'>If, as has been said, the purpose of words is to conceal -thought, then it may be equally as well said that the purpose -of Music is to reveal soul.</p> - -<p class='c009'>I don’t suppose that there is a human being alive but that -longs to be “understood.” There are all too few in this world -who are willing to give the time and thought and heart to the -understanding of others. And even if there were a greater -willingness to understand, too few of us are able to express our -deepest thoughts in words.</p> - -<p class='c009'>But Music is the Universal Language. Once we learn it, -the tips of our hearts creep out through the tips of our fingers. -There may be no one to hear. Perhaps no one would understand -even if they were about. But the blessed, joyous part of it -all is that at last we have found self expression, and that is -the next best thing to being understood.</p> - -<p class='c009'>Remember that the composers of the ages have been talking -through this language of soul in all that they have written. -As you play a piece of music, you therefore have two tasks to -perform. You must strive to pass on the message that the Masters -left, and you must interweave with it your own inner self. That -is what is meant by interpretation and expression.</p> - -<p class='c009'>You should study to be a good listener as well as a good -player, if you are to be a real Musician. Hear all of the -beautiful music that you can, whether it be on your instrument -or on some other. Music is bigger than any specific means for -expressing it, and with you, <span class='under'>Music</span> should be the first consideration.</p> - -<p class='c009'>The Exercises this week are 9, 14, 23, and 31.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 20.</h2> -</div> - -<p class='c006'>I sometimes tremble when I realise how slight is the -difference between success and failure. Success is the child of -Audacity. Failure is the offspring of discouragement.</p> - -<p class='c009'>There was a great inventor, once—great not because of -his worldly possessions, but because he dreamed the most -beautiful visions of helping humanity to bigger and better -things. He had worked long and arduously on one of his ideas -hampered by lack of funds, lack of friends, and (I am sorry to -say) lack of food.</p> - -<p class='c009'>All the night through he had toiled over his model. -There was just one little part needed to give the necessary -movement, but the proper thought eluded him.</p> - -<p class='c009'>The cold gray dawn of another toilsome day found him -discouraged and alone on a damp, park bench. He was thoroughly -hopeless and ready to give up his idea and his ideal. True, -the successful culmination of this experiment would mean fewer -accidents in a great industry, and fewer lives sacrificed to -unnecessary carelessness. But why struggle longer? The world -called him visionary and an impractical dreamer. Why fight?</p> - -<p class='c009'>Indeed, the fight had clean gone out of him. Death, -breakfast, or the lock-up were equally welcome to him. He was -through!</p> - -<p class='c009'>And then, the <span class='under'>little</span> thing happened. The doorway across -the street was opened. Through it came a piping childish voice -in joyous morning song. Little feet pattered down the steps and -soon the lisping notes came from directly at his side, while -a trusting little hand slipped confidently into his. And at -that minute the problem was solved—somebody trusted him, -somebody cared!</p> - -<p class='c009'>Exercises 11, 22, 24, and 30.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 21.</h2> -</div> - -<p class='c006'>Half the giant’s strength is in the conviction that he is a -giant. The strength of a muscle is enhanced a hundred-fold -by the will power. The same muscle, when removed from the -giant’s arm—when divorced from the force of the mighty -will—can sustain but a fraction of the weight it did a moment -before it was disconnected.</p> - -<p class='c009'>If you have been studying these lessons aright, you have -not only developed strong muscles, but you have also developed -an understanding of the tremendous power you wield over them.</p> - -<p class='c009'>When your brain wills that the finger move quickly and -with precision, it should be enough. Without thought, effort, -your will should be carried out. There should be no faltering -about this movement because the demand was definite, and the -muscles have been trained in obedience.</p> - -<p class='c009'>Whenever you are called upon to play, always bear in mind -your complete mastery over your fingers. You have nothing to -worry about. You can depend on your tools. Give your attention -to the soul meaning of the composition you are playing; or, if -you are doing accompaniment work, make a conscious effort to -efface yourself and make the soloist stand out, the predominant -influence.</p> - -<p class='c009'>In passing from the silent exercises to the instrument, -you must be careful still to maintain the correct muscular -movements.</p> - -<p class='c009'>Practice Exercises 13, 21, 24, and 30.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 22.</h2> -</div> - -<p class='c006'>Candidly, there is lots of room at the top in the world or -music, just as in any other line of endeavor. On the other -hand, there is a clammering, cluttering turmoil down at the -bottom. Your own position is like that of a sensible tourist in -the Alps who hires a competent guide and provides himself with -the necessary trappings for safe climbing.</p> - -<p class='c009'>There is no law to prevent this traveler inviting the -guide to sit down with him at the hotel in the valley and play -pinochle. True, he pays pretty heavily for the unused equipment -and for the companionship. Besides that, he never does see the -glories of the heights. But that is his privilege.</p> - -<p class='c009'>What are you doing with your musical equipment and the -helpful guidance which has been yours? Are you enjoying yourself -in the companionship of the valley, or are you daring the -paths of the mountain?</p> - -<p class='c009'>I can but urge you to struggle upward. You are not -beating a new path. The way is so plainly outlined before you -you need only actively aspire and soon the reward must be yours.</p> - -<p class='c009'>Specifically, what is there in store for the master -Musician?</p> - -<p class='c009'>There is the profession of teaching. That ability is -something that no one can ever take from you once you acquire -it. There is professional playing in Church, Concert, and -Orchestra. Later on, you may wish to take our easy course in -Harmony and Composition, so that you can also write and arrange -music. It is thoroughly worth while. Particulars on request.</p> - -<p class='c009'>This week, take Exercises 15, 20, 29, and 31.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 23.</h2> -</div> - -<p class='c006'>Suppose you do make mistakes sometimes. Is that anything -to be discouraged about? Not at all. If only you learn by -your mistakes and do not repeat the same one too often, you are -well on the road to improvement. The only person who never -makes an error is the person who never does anything. Steer -clear of such a person.</p> - -<p class='c009'>But you who have practiced the Method of AUTOMATIC -FINGER CONTROL faithfully have less to worry about as regards -making mistakes than the average student. Your fingers are -especially trained to go the right place at the right time -without any conscious effort on your part. If you have not yet -achieved this degree of skill, the thing to do is—not complain—but -devote a little more time to strengthening up the -still recalcitrant muscles.</p> - -<p class='c009'>Above all, keep moving. Don’t get stagnant.</p> - -<p class='c009'>Idleness never won distinction in the world, and never -will. The world does not owe us a living, but each one of us -does owe the world honest, sincere work in whatever field we may -choose for our endeavors. God made man for employment and we -cannot dodge the issue.</p> - -<p class='c009'>That means that everything we do must be done effectively. -When we are earning our daily bread, we must give our best. -When we are playing, we must play honestly. When we are studying, -we must strive earnestly. Only as we do this can we -enjoy life’s bounties to the full and win the progress we desire -and deserve.</p> - -<p class='c009'>Exercises 10, 17, 19, and 26 for this week’s study.</p> - -<div class='chapter'> - <h2 class='c005'>LESSON 24.</h2> -</div> - -<p class='c006'>With this lesson you end your first reading of the Method -of AUTOMATIC FINGER CONTROL. I trust that none of you will -consider the work finished, however, because you have only done -the primary work. With the greater strength of muscle and the -broader understanding of the Method itself, you are now in a -position to reap even more astounding benefits than you have -already experienced.</p> - -<p class='c009'>There is no extra charge for this privilege. All that -you are required to do is to start at the beginning again and go -through the entire course as before. You will be surprised -how many things you missed the first time over.</p> - -<p class='c009'>The brain develops in direct proportion to the studying -you do. And your understanding and appreciation increases to -just the same extent that your brain develops, so it stands to -reason that you are in a better position to benefit by this -course today than you were six months ago.</p> - -<p class='c009'>What you have already got out of AUTOMATIC FINGER CONTROL -depends on what you have put into it. It is like putting -money in a bank and taking it out with interest. You put your -time in with the specific knowledge that years of study have -made available to you in easily absorbed form, and you take out -a distinct saving in time and effort in learning to play your -favorite instrument.</p> - -<p class='c009'>I believe that your success has already fully justified -your every effort. In parting, let me assure you that you -will always find that this formula works.</p> - -<p class='c009'>Effort in a worthy cause brings RESULTS.</p> - -<p class='c009'>Exercises 12, 16, 18, and 28 complete this Course.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 1.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex01.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Hold your right hand before you, double up your -fist tightly, thumb on the outside of the fingers. -The hand turned with the palm side facing you. -Open the hand briskly and with considerable effort, -letting it turn around, so that the back of the hand -is now turned toward you. Be sure to get this point -and turn the hand around as you open the fingers. -As you open the hand, be sure to keep the fingers -stiff and bend them back from the wrist as far as -possible. Repeat this exercise twenty times.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 2.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex02.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Lift your elbows nearly as high as your -shoulders. Lay your left hand, palm up, straight -across your chest, so that there is a straight line -from the elbows to the finger tips. The fingers of -the right hand with the palm turned down are laid on -the fingers of the left. Twist the hands and -forearms in opposite directions, until the hands -come again into a similar position, but with the palm -of the right hand up. Reverse the action briskly. -Go through the cycle twelve times.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 3.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex03.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Open the left hand out flat with the fingers -loosely apart.</p> - -<p class='c009'>Grasp the little finger with the thumb and -fingers of the right hand. Very gently bend -it backward, as far as it will go without straining. -You must be careful not to overdo this at first. -Now bend it forward to the palm; back again and to -the right and left.</p> - -<p class='c009'>Do this six times, allowing the little finger to -move freely.</p> - -<p class='c009'>Now repeat the exercise, only instead of -allowing the little finger to move freely, try to -hold it rigid and immovable. Of course the muscles -of the little finger will be unable to stand the -greater strength of your right hand, and it is intended -that the finger should move, but in each case it -should move against the resistance of the finger -muscles. Repeat this exercise against resistance -fourteen times.</p> - -<p class='c009'>Go through this entire process with each of the -other fingers and the thumb of the left hand. Then -take up the exercise with each of the fingers of the -right hand, moving them with your left.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 4.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex04.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Lay the left hand flat palm down on a table, -book, or other smooth surface. Open the thumb out of -the way of the fingers.</p> - -<p class='c009'>Grasp the index finger of the left hand with -the thumb and finger of the right hand. Allowing -the finger to move freely, draw it along the surface -as far as possible without straining the muscles. -Do this five times. Now with the finger muscles -resist the movement, and repeat the exercise five -times more.</p> - -<p class='c009'>Allowing the finger to move freely once more, -lift it from the table in a large semi-circle, -and swing it over towards the thumb and down to the -table again. Repeat five times.</p> - -<p class='c009'>Go through this same movement five times with -muscle resistance.</p> - -<p class='c009'>Carry out these exercises on the other fingers -of the left hand, and then on all of the fingers of -the right hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 5.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex05.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Put your right hand and arm down at your side, -fingers extended. Keeping the elbow and upper -arm close to the body, bend the arm briskly at the -elbow, still keeping the hand open, and in a straight -line with the forearm. Repeat this exercise -twelve times with the palm of the hand turned toward -the shoulder, and twelve times with the palm of the -hand turned away from the shoulder.</p> - -<p class='c009'>Now raise the upper arm, so that the elbow bends -slightly upward from the shoulder. Repeat the -same bending action of the elbow twenty times. -The position of the hand is immaterial in this exercise.</p> - -<p class='c009'>Go through these motions with the left arm.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 6.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex06.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Hold your left hand up in front of you with the -palm facing you. Press the index finger and the -middle finger tightly together. Bring the two -still held tightly together down to the palm, and -then back straight again, quickly, briskly and with -muscular resistance. The motion should be from -the knuckle joint. Naturally the other fingers will -have a tendency to curl. It makes no difference if -they do. Repeat this exercise twenty times.</p> - -<p class='c009'>Next practice this exercise using the middle -and the ring fingers pressed together, letting the -little finger and the index finger remain as straight -as possible.</p> - -<p class='c009'>Do the same exercise with the little finger -and the ring finger together.</p> - -<p class='c009'>These same motions should be gone through with -the right hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 7.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex07.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Bring the finger tips of the right hand together -with the tip of the thumb, spreading the fingers at -the middle knuckle and rounding the whole back of -the hand. From this position snap the whole hand out -flat, with the fingers spread wide apart. Do this -forcibly. Quickly return to the original position -and repeat the exercise twelve times.</p> - -<p class='c009'>This same exercise is to be performed with -the right hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 8.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex08.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Raise your left arm so that the elbow is -sticking out in front of you almost as high as the -shoulder. Bend the arm at the elbow, so that the -forearm reaches straight up in the air. Close your -hand loosely. With a rotating movement of the upper -arm, bring your fist down as low as it will go, still -keeping the elbow at the same spot. Return to the -original position. Repeat this exercise twelve -times. At first it will be advisable to do this -rather slowly and without too great effort, because -of considerable strain in the region of the shoulder -blade. Later, as the muscles become stronger and -more supple, you can increase the speed and the -intensity of the effort.</p> - -<p class='c009'>Repeat the same exercise with the right arm.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 9.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex09.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Stand straight with the arms down at your side. -Double up your right fist. Keeping the arms -straight, swing it back as far as possible and then -front until it is directly overhead. Just the -same as you do when you swing your arm in walking, -only more so. Continue swinging the arm this way, -but instead of swinging it back at your side, move it -around, so that your arm finally swings up across -the chest to the overhead position. The idea is to -swing it, changing the plane gradually so that you -pass through all the different positions between the -side plane and the chest plane.</p> - -<p class='c009'>Repeat the same motions with the left arm.</p> - -<p class='c009'>Standing straight in military position as -above, raise your right arm straight out from the -shoulder, fist closed. Without bending the elbow, -swing the arm back and forth as far as possible, on a -level with the shoulders. Raise the arm a little -and continue this swinging movement, each time -raising it a little higher, then gradually descend -passing from the shoulder level and continuing down.</p> - -<p class='c009'>Perform the same exercise with the right arm.</p> - -<p class='c009'>Caution:—These exercises must not be done too -strenuously at first, as there is a severe strain -on the shoulder blades. After the muscles become -a little hardened, you can carry out these exercises -with more vigor and about ten times in each of the -varying positions.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 10.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex10.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Open out the left hand before you, with the -fingers close together. Hold the thumb apart. Move -the first finger as far toward the thumb and away -from the other fingers as possible, and back again. -Do this gently and easily five times.</p> - -<p class='c009'>Now let the muscles of the hand and fingers -become tense, so that as you draw the finger over -towards the thumb with one set of muscles, the -opposing set resists the motion. Repeat this ten -times.</p> - -<p class='c009'>Go through this same movement with each of the -other fingers of the left hand and then with each -of the fingers of the right hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 11.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex11.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Hold out your right hand, the palm facing you. -Separate the little finger slightly from the rest. -With a brisk, sharp movement, twist the hand at the -wrist to the left, so that the little finger moves -down as low as possible. Repeat this exercise twelve -times.</p> - -<p class='c009'>Perform the same exercise twelve times with -the left hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 12.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex12.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Open the left hand, thumb and fingers, all close -together, turning the hand so that the thumb is -towards your body and the little finger away from it. -Bend the first finger at the knuckle joint, and -nowhere else, and bring it down toward the palm of -the hand until it is horizontal, that is at right -angles to the plane of the palm and the other fingers. -If it will not come down of itself, help it a little -with the other hand, but be careful not to strain -the left hand muscles when you are first starting this -exercise. Try not to move the other fingers of -the left hand while you are bending the index finger -downward. Repeat this motion ten times.</p> - -<p class='c009'>Go through this exercise with each of the -other fingers in turn.</p> - -<p class='c009'>The first day you do this exercise, do it without -any muscular resistance to the motion. Afterwards, -from day to day, add more and more resistance as the -fingers become stronger.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 13.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex13.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Hold the right hand edgewise before you, the -thumb towards the chest. Have the fingers closed -tightly together and bring the thumb firmly against -the first finger. With a sharp, quick action, open -the thumb away from the finger, so that it points over -your shoulder; at the same time bending the entire -hand sideways at the wrist, bringing the thumb still -nearer the shoulder. The movement must be quite -snappy to get the desired effect. Repeat twelve times.</p> - -<p class='c009'>Perform this exercise twelve times with the -left hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 14.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex14.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Extend both hands in front of you, palms -together; the fingers of each hand held tightly against -those of the other; the thumbs separated from the -fingers and pointed toward you.</p> - -<p class='c009'>Raise the elbows from the body, then slowly -and with muscle resistance, move the palms apart. -Leave the fingers together from base to tip. Just -as slowly and with muscle resistance, close the palms -again. Repeat this exercise five times.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 15.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex15.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Hold your left arm across the chest palm up, but -with the wrist bent as far down as possible, the -fingers easily curled. Place the right arm in a -similar position, but with the palm down, having -the wrist of the right hand bent upward and fingers -similarly curled. Lay the finger tips of the right -hand on those of the left. From this position twist -the forearms in opposite directions until the finger -tips again come together, this time the palm of the -right hand bent up, and of the left bent down.</p> - -<p class='c009'>Reverse the motion and repeat the exercise -twelve times.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 16.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex16.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Extend the left hand and close the fingers down -to the palm, keeping the knuckle joints straight -and bending only the two outer joints.</p> - -<p class='c009'>Holding the other fingers motionless, straighten -out the index finger. You must be careful -throughout the entire exercise, never to move the -knuckle joint. Repeat five times without muscular -resistance, then go through the exercise with the -muscles tense, so that one set resists the motion of -the other.</p> - -<p class='c009'>Practice this exercise on each of the remaining -fingers on the left hand and on all of the fingers -of the right.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 17.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex17.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Stand erect, shoulders back, and without -bending forward, lean far over to the right from the -waist line. As you do this, let the right hand bend -toward the left knee. While in this position, -make a short but strong thrust, entirely from the -right shoulder which will bring the fingers of the -right hand possibly an inch nearer the left knee. -Straighten up, bend to the left and thrust out the left -shoulder. Repeat this exercise first with the right -and then with the left twelve times.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 18.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex18.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Hold the right hand before you, the fingers -relaxed, and slightly curved, palm facing you. -Grasp the second, third and little fingers gently -with your left hand, and bend the forefinger down to -the palm from the second joint. Use considerable -pressure each time you bring the finger down to the -palm and repeat the exercise eight times, allowing -the finger to become fully relaxed between each motion.</p> - -<p class='c009'>Repeat this exercise for the middle finger ten -times.</p> - -<p class='c009'>For the ring finger, do this exercise twelve -times.</p> - -<p class='c009'>For the little finger, do this exercise ten -times.</p> - -<p class='c009'>Proceed with the same series of exercises for -the left hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 19.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex19.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Hold your left hand before you, the fingers -bent down to the palm, and reaching as far toward the -wrist as possible. Extend the first finger. Open -gradually so as not to move the others. Do this five -times without muscular resistance and five times with.</p> - -<p class='c009'>Go through the same exercise with each of the -other fingers.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 20.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex20.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Place the hand on any flat surface and keeping -it straight, raise the first finger as far as you -can from the table. Do not bend any joints save that -at the knuckle. Repeat this ten times using -increasing muscular resistance.</p> - -<p class='c009'>Perform this exercise with each of the fingers.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 21.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex21.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Place the hand on a flat surface with the fingers -curved so that just the tips and the base of the -palm touch the table. Raise and lower the fingers -one after the other slowly and with muscular -resistance. Bring the fingers down with considerable -pressure each time. Repeat twenty times with -each hand.</p> - -<p class='c009'>With the fingers in the same position raise the -thumb as high as possible, and bring it down sharply -to the table. Repeat twenty times with each thumb.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 22.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex22.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Open the left hand with the fingers together -but the thumb out of the way. Move the index finger -so that the tip of it circles around down toward the -palm, over to the thumb, to the back, and returns to -the original position. Keep the fingers straight -all of the time. Repeat this without muscular -resistance five times.</p> - -<p class='c009'>Now stiffen the muscles of the finger, so that -one set resists this motion, while the other set -overcoming the resistance, causes the finger to -circle as before. Repeat five times.</p> - -<p class='c009'>Go through the same exercise with each of the -other fingers of the left hand, and then with all of -the fingers of the right hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 23.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex23.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Extend the fingers of the left hand, with the -little finger away from you and the thumb opened -and pointing away from the palm, that is toward your -right. Bring the index finger down until it is at -right angles to the palm, bending only at the knuckle -joint.</p> - -<p class='c009'>Let the knuckle joint straighten up again and -at the same time bend the other two joints of the -finger, so that the finger tip goes down to the palm -of your hand. Repeat this exercise five times -without resistance, and then five times with -resistance.</p> - -<p class='c009'>Continue the exercise of each finger of the left -and right hands.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 24.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex24.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Lay the right hand flat on a table or other hard -plane surface, fingers and thumb far out-spread. -Press firmly with the whole hand on the table. -Continuing this downward pressure, exert an upward -pressure against it with the finger tips, and raise -the body of the hand about 1½ inches from the table -top. Throughout this entire exercise try to keep -the back of the hand parallel with the table. After -you have reached the desired height, press the hand -down to the table top again against muscular -resistance. Repeat this exercise ten times.</p> - -<p class='c009'>Perform the same exercise with the left hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 25.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex25.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Place the elbows at the side, forearms -horizontal, with your hands out in front of you. -Bend the hands downward at the wrist with the fingers -loose and gently curved. Then bend the hands upward -from the wrist as far as they will go. This exercise -may be done with both hands at the same time. -Repeat ten times.</p> - -<p class='c009'>With your forearms extended in front of you, and -the hands held straight out, fingers spread wide -apart, palms down, move the hands at the wrist slowly -from side to side with considerable muscle resistance. -Do not move the arm. All motion must be from the -wrist, and in a side-wise direction. Repeat ten -times.</p> - -<p class='c009'>Extend the forearms and hands in front of you, -palms up, with the fingers held close together. -Moving from the wrist as a pivot, and from no other -joint describe as large a circle as possible with -the finger tips using muscular resistance, slowly -ten times, then reverse the motion and repeat ten -times circling back in the opposite direction.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 26.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex26.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Fold the hands together, fingers interlaced. -Hold them tightly closed. Now raise the first finger -of the right hand and bring it back slowly with -muscles tense, just as far as you possibly can, -pressing the other fingers hard against the backs of -the hands.</p> - -<p class='c009'>Repeat this exercise twelve times for each one -of the fingers.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 27.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex27.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Extend the left hand before you, fingers close -together. Moving only the joint down near the -wrist, swing the thumb around in a circle. Do this -five times without muscular resistance and five times -with.</p> - -<p class='c009'>Repeat this exercise with the thumb of the -right hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 28.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex28.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Lay your right hand, palm down, flat on any -plane surface. Press the fingers quite firmly down -on the table. Place the forefinger of the left hand -on the nail of the forefinger on the right hand with -a slight amount of pressure. Raise the forefinger -of the right hand as high as possible from the table -against this pressure. Keep the forefinger of the -right hand straight, save at the knuckle joint, and -the other fingers firmly on the table. Return -the finger to the table against muscular resistance. -Repeat this exercise twenty times.</p> - -<p class='c009'>Go through this same exercise with the other -fingers of the right hand, then reverse and proceed -with the fingers of the left hand.</p> - -<p class='c009'>Do this exercise with the thumb nail, but -instead of having the whole hand flat on the table, -have the fingers curl, so that the side of the hand -touches the table, and raise the thumb against the -pressure of the finger of the opposite hand twenty -times.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 29.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex29.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Extend both hands in front of you, palms -together, the fingers of each hand held tightly -against those of the other, the thumbs separated from -the others and pointed toward you.</p> - -<p class='c009'>Raise the elbows from the body, then slowly and -with muscular resistance move the palms apart, -keeping only the tips of the fingers together. Push -hard with the finger tips against each other. Just -as slowly and with muscle resistance close the palms -again. Repeat this exercise five times.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 30.</h2> -</div> - -<div class='figcenter id003'> -<img src='images/ex30.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Extend the left hand and spread the fingers and -thumb as far as possible. Slowly, and with muscular -resistance, bring the tip of the first finger and -the tip of the thumb together, forming a circle. -Return to the original position. Repeat ten times.</p> - -<p class='c009'>Do this exercise with each of the other fingers -of the left hand, and then with each of the fingers -of the right hand.</p> - -<div class='chapter'> - <h2 class='c005'>EXERCISE 31.</h2> -</div> - -<div class='figcenter id002'> -<img src='images/ex31.jpg' alt='' class='ig001' /> -</div> - -<p class='c006'>Fold your hands together interlaced. Hold them -together tightly. Now against muscular resistance, -slowly open the palms and the base of the wrist and -as slowly close them together again. Repeat this -exercise ten times.</p> - -<div class='chapter'> - <h2 class='c005'><span class='under'>FIRST EXAMINATION</span></h2> -</div> - <dl class='dl_1 c003'> - <dt>1.</dt> - <dd>What time do you practice AUTOMATIC FINGER CONTROL each day? - </dd> - <dt>2.</dt> - <dd>How many times have you missed your practice periods during this first six weeks? - </dd> - <dt>3.</dt> - <dd>Do Exercise No. 1 twenty times with the left hand. Do the muscles between the wrist and - elbow feel tired? - </dd> - <dt>4.</dt> - <dd>Take Exercise No. 12 first with the left hand and then with the right. Which muscles feel - tired from this? - </dd> - <dt>5.</dt> - <dd>What marked improvement have you already noted from practicing AUTOMATIC FINGER CONTROL? - </dd> - </dl> - -<div> - <h2 class='c005'><span class='under'>SECOND EXAMINATION</span></h2> -</div> - <dl class='dl_1 c003'> - <dt>1.</dt> - <dd>Take Exercise 14. How far apart can you separate the base of the palms without separating - the fingers? - </dd> - <dt>2.</dt> - <dd>Which muscles does Exercise 17 tire? - </dd> - <dt>3.</dt> - <dd>Which finger of which hand feels most tired after Exercise 18? - </dd> - <dt>4.</dt> - <dd>Do Exercise 18. How high can you raise the ring fingers? - </dd> - <dt>5.</dt> - <dd>In which muscles have you noted greatest improvement so far? - </dd> - </dl> - -<div> - <h2 class='c005'><span class='under'>THIRD EXAMINATION</span></h2> -</div> - <dl class='dl_1 c003'> - <dt>1.</dt> - <dd>Can you do Exercise 25 without tiring any muscles? If not, which? - </dd> - <dt>2.</dt> - <dd>Do you perform Exercise 30 quickly or slowly? - </dd> - <dt>3.</dt> - <dd>What time each day do you practice AUTOMATIC FINGER CONTROL? - </dd> - <dt>4.</dt> - <dd>How many days have you gone without practicing at all? - </dd> - <dt>5.</dt> - <dd>Just how does having stronger, more supple fingers help you? - </dd> - </dl> - -<div> - <h2 class='c005'><span class='under'>FOURTH EXAMINATION</span></h2> -</div> - <dl class='dl_1 c003'> - <dt>1.</dt> - <dd>Which exercise of this course did you find most difficult? - </dd> - <dt>2.</dt> - <dd>Do you still have trouble with any exercises? Which? - </dd> - <dt>3.</dt> - <dd>Are you able to master your lessons at the instrument more rapidly now than when you took - up AUTOMATIC FINGER CONTROL? - </dd> - <dt>4.</dt> - <dd>Take Exercise 16 with muscle resistance, ten times instead of five. Can you do it equally - well with each finger? - </dd> - <dt>5.</dt> - <dd>Write me all of the ways in which AUTOMATIC FINGER CONTROL has helped to make a good - player of you in shorter time and with less practice at the instrument. - </dd> - </dl> - -<div class='chapter'> - <h2 class='c005'>POST SCRIPT</h2> -</div> - -<p class='c006'>You have something more today than you had six -months ago before you took up AUTOMATIC FINGER CONTROL. You -have a nest egg. And yet, it is something more valuable, -even, than a nest egg in its ordinary sense of capital. You -have a specific knowledge and ability and dexterity that can -never be taken from you. If you have carried out the exercises -of this course in accordance with the instructions, you -are already far on the way toward the supreme mastery of your -instrument.</p> - -<p class='c009'>We are always glad to hear of this progress from our -students. Write us and let us know of the marvelous results -attained in your own case.</p> - -<p class='c009'>But capital, to yield returns, must be put to work. -And so must your new-found art. You have strengthened and -trained your fingers to greater skill than that enjoyed by the -average musician. You should take advantage of that fact.</p> - -<p class='c009'>Fundamentally, there is a strong similarity between -all of the instruments. They all require the use of the same -finger muscles. They all make use of notes.</p> - -<p class='c009'>Herein lies a wonderful opportunity for you to make -music more and more valuable and profitable to you as the -years go by. You are now ready to take up further musical -study. We strongly recommend that each student learn to play -not only one instrument, but several. It is not hard with the -start you already have. We make very attractive offers to our -students who take up the study of a second instrument. If you -are in doubt as to what instrument to study next, write us. -And sooner or later, you should also study Harmony, Composition -and Voice.</p> - -<div class='pbb'> - <hr class='pb c004' /> -</div> -<div class='tnotes x-ebookmaker'> - -<div class='chapter ph2'> - -<div class='nf-center-c0'> -<div class='nf-center c011'> - <div>TRANSCRIBER’S NOTES</div> - </div> -</div> - -</div> - - <ol class='ol_1 c003'> - <li>Silently corrected obvious typographical errors and variations in spelling. - - </li> - <li>Retained archaic, non-standard, and uncertain spellings as printed. - </li> - </ol> - -</div> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK AUTOMATIC FINGER CONTROL ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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