the first place, the proper basis for a firm structure is wanting. The
knowledge of the notes cannot afford a proper basis, except in so far as
it is of service in the execution of a piece. Of what use are the notes
to a singer, if he has no attack, and does not understand the management
of the voice? of what use to the piano-learner, if he has no touch, no
tone on the piano-forte. Is this to be acquired by playing the notes?
But how then is it to be learned?

One thing more. Owing to an over-zeal for education, children are kept
in school from seven to ten hours in a day, and then they are required
to work and commit to memory in their free hours, when they ought to be
enjoying the fresh air. But when are they then to have their piano
lessons? After they have escaped from the school-room, and consequently
when the children are exhausted and their nerves unstrung. What cruelty!
Instead of bread and butter and fresh air, piano lessons! The piano
ought to be studied with unimpaired vigor, and with great attention and
interest, otherwise no success is to be expected. Besides this, much
writing, in itself, makes stiff, inflexible fingers. But when is the
child to find time for the necessary practice of the piano lessons?
Well, in the evening, after ten o'clock for refreshment, while papa and
mamma are in bed! And now, after the school-days are happily over, and
the children have possibly retained their red cheeks, then their
occupations in life lay claim to their time; or, if they are girls, they
are expected to busy themselves with embroidery, knitting, sewing,
crochet, making clothes, house-work, tea parties, and alas! with balls;
and now, too, comes the time for lovers. Do you imagine that the fingers
of pupils sixteen years old can learn mechanical movements as easily as
those of children nine years old? In order to satisfy the present
demands in any degree, the technique should be settled at sixteen. Under
all these circumstances, we find the best teachers become discouraged,