strict time.

To use for once the language of the times, which boldly proclaims, "Such
things as these belong to a stand-point which we have already reached,"
I wish that the musicians of "the future" may as happily reach their
"stand-point," not by hollow phrases and flourishes, and the threshing
of empty straws, but by practical, successful efforts, and striving for
that which is better.

* * * * *

"What is the value of your method, in the instruction of pupils who have
for years played many pieces from notes, but have played them badly,
and whom we are called upon to lead into a better way of playing?"

A reply to this frequent inquiry can be found in my first chapter. Above
all things, let the notes which have already been played be laid aside
for a long time; for a mistaken style of playing these has become so
confirmed that to improve them is hopeless, and the tottering edifice
must fall to the ground. First, improve the touch; help to acquire a
better and more connected scale; teach the formation of different
cadences on the dominant and sub-dominant; and the construction of
various passages on the chord of the diminished seventh, to be played
with correct, even, and quiet fingering, _legato_ and _staccato_,
_piano_, and _forte_; pay strict attention to the use of loose fingers
and a loose wrist; and allow no inattentive playing. You may soon take
up, with these studies, some entirely unfamiliar piece of music, suited
to the capacity of the pupil. It is not possible or desirable to attempt
to make a sudden and thorough change with such pupils, even if they
should show the best intentions and docility. You should select a light,