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At present it would be too early to direct your attention to certain more refined rules of expression. In the mean time, I beg of you to observe, in the strictest manner, all that each composer has indicated on this head in his works; and to try to execute each piece in a pure and flowing manner, and in the time indicated by the author. Towards effecting this last object, Maelzel’s metronome will afford you very great assistance in most modern compositions.
The graces, namely, the shake, the turn, the appoggiatura, &c. are the flowers of music; and the clear, correct, and delicate execution of them, embellishes and exalts every melody and every passage. But, when they are played stiff, hard, or unintelligibly, they may rather be compared to blots of ink or spots of dirt.
The shake is peculiarly important; and, to a pianist, the elegant, equal, and rapid execution of it, is as much an ornament and a duty as the equal and pearly execution of the scales. In the right hand, at least, it ought to be played alike well with all the fingers. The equality of the shake can only be attained by lifting up both fingers to an equal height, and striking the keys with equal force. You ought to devote a few minutes daily to this particular practice. The examples necessary for the pur-
