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or upon the force of Example. Or they have insisted upon what is after all a mere accompaniment of good touch, i. e.: Position and Movement—thus placing " the cart before the horse." True it is, moreover, that the necessity of ra-
tionally studying this problem has lately made itself keenly felt, especially in America. How pressing this need is, becomes only too painfully evident, when one has to teach those who have already formed wrong muscular-habits, and when one is compelled to witness the ineffectual struggles of many even of the musically endowed in the Examination-room, and Concert-room, who, were they not thus handicapped by faulty habits (acquired through ignorance of these Rudiments) could give free vent to the powers of perception and imagination evidently latent in them !
Obviously the only way to succeed in the attempt rationally to learn and teach the Act of Touch in all its immense variety, is, first to discover through Analysis how the successful players obtain their effects, and then to test such Analysis, by observing whether the act of touch, built up in accordance with such analysis, does give the anticipated tonal-results. Having thus determined the structure of all varieties of touch, and the permits to Agility, we ought then to be in a position directly to help ourselves and others towards their acquisition.
The Means of Touch-variety or Key-treatment having thus been analysed, it follows that all who will take the trouble to master the subject—all who will take the trouble to understand the requirements of Key and Muscle, and will take the trouble to form these into physical and mental habits—will be able to acquire the language of Expression. Everyone may thus be enabled to gain power of Agility and Colouring ; and even the musically endowed, may, by directly acquiring a tone-palette (or Touch-palette) thus save years of time, which