Six years ago I took my family, principally consisting of daughters, to Germany, to have them educated there, and especially to obtain for them good instruction in music. I soon found that the method of teaching the pianoforte then in general use was very fatiguing and trying to the nerves; at the same time, as Germany stands at the head of the musical world, that method, as a matter of course, must be considered the best which we at present know. In order to investigate that system more minutely, I visited several musical schools and conservatories for music in Germany, inquiring what was the very best method known for strengthening the fingers and wrist, for bringing them into order and preparing them to play the pianoforte? The answer I everywhere received was as follows: “The chief difficulties and impediments to be overcome in teaching the piano, the violin, and almost all other musical instruments, are muscular, and lie in the joints of the fingers and wrists; and the very best method of rendering them strong and flexible is frequently and perseveringly to move the fingers up and down on the instrument, preserving the hand in the same position. This movement, together with the usual finger-exercises, if continued for five or six years, and diligently carried out, is usually sufficient to render the joints and muscles of the fingers agile and flexible, and to bring the fingers generally into order.” I inquired further, “Are those exercises not very fatiguing?” to which I was answered, “They certainly are very trying to the muscles and nerves;” and whether “the health of the students, male and female, did not suffer thereby?” to which the reply was, that it did, and that, indeed, it was sometimes necessary for them to discontinue playing for some months; but then they added, “It must be remembered that learning to play the piano was in itself at all times attended with very considerable difficulties.” I observed that this result was really lamentable; and inquired whether there did not exist any other method for obtaining the same end and becoming proficient on the piano? To this I received a negative answer, and was again told, “After all possible experiments, it is the opinion of all artists and teachers at the present time, in all cities in Europe, that the method alluded to is _the most effective_ of any we know for imparting quickness and flexibility to the joints of the fingers and wrist.”