o, etc.

* * * * *

Practise frequently the scale and other finger exercises; but this alone
is not sufficient. There are many people who think to obtain grand
results in this way, and who up to a mature age spend many hours daily
in mechanical labour. That is about the same, as if we tried every day
to pronounce the alphabet with greater volubility! You can employ your
time more usefully.

* * * * *

There are such things as mute pianoforte-keyboards; try them for a
while, and you will discover that they are useless. Dumb people cannot
teach us to speak.

* * * * *

Play _strictly in time_! The playing of many a virtuoso resembles the
walk of an intoxicated person. Do not take such as your model.

* * * * *

Learn betimes the fundamental principles of Harmony.

* * * * *

Do not be afraid of the words Theory, Thoroughbass, Counterpoint, etc.;
you will understand their full meaning in due time.

* * * * *

Never jingle! Play always with energy and do not leave a piece
unfinished.

* * * * *

You may play too slow or too fast; both are faults.

* * * * *

Endeavour to play easy pieces well and with elegance; that is better
than to play difficult pieces badly.

* * * * *

Take care always to have your instrument well tuned.

* * * * *

It is not only necessary that you should be able to play your pieces on
the instrument, but you should also be able to hum the air without the
piano. Strengthen your imagination so, that you may not only retain the
melody of a composition, but even the harmony which belongs to it.

* * * * *

Endeavour, even with a poor voice, to sing at first sight without the
aid of the instrument; by these means your ear for music will constantly
improve: but in case you are endowed with a good voice, do not hesitate
a moment to cultivate it; considering it at the same time as the most
valuable gift which heaven has granted you!

* * * * *

You must be able to understan