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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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