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tone with which we are used to repeat the multiplication table.
In every composition, the marks of expression, f. p. cres. dim, legato, staccato, acceler. ritard. &c. are so exactly indicated by the composer, that the performer can never be in doubt where he is to play loud or soft, increasing or decreasing, as to tone, connected or detached, hurrying onwards in the time, or holding it back.
The same exactitude with which you are obliged to observe the notes, the marks of transposition, the fingering, and the time, you must likewise employ with regard to the marks of expression.
But the most difficult part of the business is, always to observe the proper medium at each mark of expression; for you already know that there is great diversity in the shades and degrees of forte, piano, legato, staccato, accelerando, and ritardando.
The utmost fortissimo should never degenerate into mere hammering and thumping, or into maltreating the instrument.
Similarly, the most gentle pianissimo ought never to become indistinct and unintelligible.
You possess an excellent pianoforte by one of our best makers; and you will already have remarked, that the most gentle pressure of the
