In this exercise the striking finger must be raised as high as possible (while the other remains down), and must fall quite forcibly with its fleshy tip on the key; the upper arm is, of course, held close to the body. The reason why I insist upon keeping one finger down, is very important. The striking finger must be raised high, in order to fall full and strongly upon the key, yet without at the same time raising the wrist, of which there is danger. The wrist should remain inactive, the power of the fingers only being exerted; and, to insure this, the finger which had the last tone remains down. The next finger may then lift itself as high as it will, the wrist is forced to remain quiet, as the finger which is down, together with the elbow resting on the body, prevents its rising. By this exercise it is made clear that the very best legato may be acquired without in the least changing the position of the hand; in the ascending scale the 3d or 4th finger of the right hand, being forced to remain down while the thumb strikes the tone next above, thereby forms an arch, under which the thumb reaches its key quite easily, without at all changing the position of the hand; in descending, the 3d and 4th fingers do the curving over the thumb, which is kept down. What is here said of the right hand, applies to the left also, with the difference that in the latter the arches are formed in descending, the curvings in ascending. The author must again call attention to two important points ;first, that only slow and very careful practice affords real profit; secondly, that we are concerned only with a kind of gymnastic exercise, by no means with an absolute system applicable to all cases. (Typographical errors above are due to OCR software and don"t occur in the book.) About the Publisher Forgotten Books is a publisher of historical writings, such as: Philosophy, Classics, Science, Religion, History, Folklore and