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middle, and therefore not sideways nor obliquely.
Secondly. When, after the percussion, each key is so firmly pressed down as to cause the full tone of the instrument to be audible.
Thirdly. When, before the percussion, we do not raise the finger too high; as otherwise, along with the tone, there will be heard the blow on the key.
Fourthly. When the hand and arm, even when striking with considerable force, do not make any jumping, chopping, or oscillating movement. For you will find, Miss, that the fingers cannot possibly play pleasantly and tranquilly when the hands and arms are unsteady.
Fifthly and lastly. When the player observes all these rules in rapid runs, or even in skips and extensions, as strictly as in slow and quiet passages.
All the finger-exercises, and particularly the scales, have no other end than to accustom the fingers to the application of these rules so thoroughly, that the player shall practise all that he studies in future strictly according to the principles we have given.
“Ah! the scales,” you write to me; “that is truly a tedious story! Are these things then really as necessary as my teacher says?”
Yes, Miss Cecilia, these scales are the most
