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would otherwise be wasted in futile experiments, and in forming bad habits.
As I have now for a great number of years applied such Analysis and Synthesis of Touch in my daily work of teaching, doing so always with increasing directness, and mainly ascribe such success as I have had as a teacher (and my pupils, also, as teachers) to the resulting ability to point out Hue, immediate causes of the observed faults, and the direct means of their correction—to the ability to show explicitly how to command the physical fulfilment of each interpretative and technical detail, 1 have long been urged to render this knowledge more widely accessible, and the present little work is the result.
In endeavouring to place the many unfamiliar facts and new ideas before the reader, there was however this dilemma to face : that innumerable prejudices and fallacies would have to be combated, and that to do this would render the treatise too elaborate for the Schoolroom ; whereas, to limit it to direct information in its concisest form (as required for the Schoolroom) might render its teachings liable to misconception, and unacceptable to the prejudiced.
To overcome this difficulty, the work has been laid out in four Parts, as follows :—Part I, is purely introductory, and purposes to show the relation the study of Touch bears to the general problems of Pianoforte-education. This is followed by the practical Parts, II to IV. Part II, " The instru-
mental aspect of Key-treatment," demonstrates the nature of the mechanical difficulties to be overcome,—what are the requirements of the key, and how the key must be treated for each kind of effect. Part III, " The muscular-aspect of Key-treatment," exhibits the muscular difficulties of the problem, and their solution—the muscular means we must adopt, to fulfil the key's requirements. Finally, Part IV deals with the