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plaining to me how much your master vexed and tormented you with finger-exercises, with rules relating to touch, to the position of the hands, to clearness, volubility, &c. &c.
“Ah!” exclaim you, in a manner quite touching, “must all this really be so?”
Yes—such is indeed the case; and here, dear Miss, I cannot assist you; your worthy teacher is quite right in being so strict as to all these points, and I will explain the reason why. From every musical instrument we may produce either a fine tone or a detestable one, according as we handle it. The same excellent violin which, in the hands of a clever player, sounds so delightfully, will, when handled by a clumsy person, yield as disagreeable sounds as if a number of kittens were squalling. It is the same with the pianoforte. If it is not properly handled by the player, or if we merely thump and bang the keys, the best instrument will sound hard and unpleasant. On the other hand, if we employ too little force, or do not know how to use this power in a proper manner, the tone will be poor and dull, and the performance unintelligible, and without soul or expression.
The interior mechanism of the keys is such that the strings will only sound well when we—
First. Strike each key perpendicularly; that is, straight downwards, and exactly in the
