Part 1

_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.