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ous as they are capable of being serviceable when properly practised. You know, Miss, that the five fingers are by no means equal to each other in natural strength. Thus, for example, the thumb is much stronger than any of the other fingers; the first finger is much stronger than the little finger, and the third finger, on the contrary, is, with almost every person, the weakest of all. The pianist, however, must know how to employ these various degrees of power, so that in playing the scales all the fingers may strike their appropriate keys with perfect equality of strength; for the scales sound well only when they are played in every respect with the most exact equality.
This equality is three-fold; namely—
First. Equality of strength.
No one note ought to sound in the smallest degree louder than another, whether it be struck with the thumb, or the first, second, third, or little finger.
Secondly. Equality in point of quickness.
Each note must follow the preceding one strictly in the same degree of movement, whether we play the scales slow or quick.
Thirdly and lastly. Equality in holding the notes down.
No key must be held down for a longer or shorter time than the rest; that is, each finger must only keep its key pressed down till the
