I shall, in the first place, endeavor to improve your touch, which is too thin, feeble, and incorrect; which makes too much unnecessary movement, and tries to produce the tone in the air, instead of drawing it out with the keys.

This will not require a long time, for I have well-formed, young hands to work upon, with skilful fingers in good condition.

I will employ, for this purpose, several of the short exercises mentioned in my first chapter, and shall require them to be transposed into various keys, and played without notes, in order that you may give your whole attention to your hands and fingers.

Above all things, I wish you to observe how I try to bring out from the piano the most beautiful possible tone, with a quiet movement of the fingers and a correct position of the hand; without an uneasy jerking of the arm, and with ease, lightness, and sureness.

I shall certainly insist upon scales also, for it is necessary to pay great care and attention to passing the thumb under promptly and quietly, and to the correct, easy position of the arm.