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necessary point of all, not only for beginners, but even for pupils who are much advanced; and, indeed, the most expert players do and must constantly have recourse to and practise them. Permit me to demonstrate this to you, as I know that you have a good understanding, and are fond of reflecting.
You know already that the passing of the thumb under the other fingers, and of the three-middle fingers over the thumb, is absolutely necessary, and that it is the only means by which we are enabled to strike a long series of keys quickly one after the other.
But this passing of the thumb and fingers, even in the most rapid passages, must be effected in a manner so natural, equal, and unlaboured, that the hearer shall not be able to distinguish the smallest interruption or inequality. This, however, is almost the greatest difficulty in pianoforte-playing; and it is possible only when neither the arm nor the hand makes the smallest movement upwards or sideways, and when the joints of all the fingers attain gradually and by long practice so great a degree of flexibility and address, that in a rapid run over the key-board one is almost tempted to think that the player has at least fifty fingers on each hand. To attain this highly necessary property, there is no other means than the most diligent, uninterrupted
