The habit referred to has especial relation to the playing of the various rapid scale and arpeggio passages, involving closed or open hand position which are so common in pianoforte compositions and which grow out of the nature of the instrument. The touch is accomplished by quickly but quietly drawing the finger-tips inward toward the palm of the hand, or, in other words, slightly and partly closing the finger-points as they touch the keys while playing. This action of the fingers secures the cooperation of many more muscles of the finger, wrist, hand, and forearm than could be accomplished by the merely "up-and-down" finger-touch. It is difficult to describe in detail without an instrument at hand for illustration. If correctly performed, however, the tones produced are very clear and well defined, and of a beautifully musical quality. The simile of "a string of pearls" of precisely similar size and shape has often been used in describing their fluency and clearness of outline. A too rapid withdrawal of the finger-tips would result in a short and crisp staccato. While this extreme staccato is also desirable and frequently used, it is not the kind of effect here desired, namely, a clear, clean delivery of the tones which in no wise disturb the legato effect. Of course it requires cultivation and skill to secure just the right degree of finger-motion to preserve the legato and at the same time the slight separation of each tone. Therefore the fingers must not be drawn so quickly as to produce a separation or staccato effect, but in just the right degree to avoid impairing the legato or binding effect. For the sake of convenience in description I have named this touch the "elastic finger-touch," and through its influence a clear and crisp effect is attained. It is interesting to observe in this connection, a fact which I learned only many years later, that Sebastian Bach's touch, described in detail by J. N. Forkel in his work entitled "Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke," both as used by Bach himself and as he taught it to his pupils, seems to be identical with the touch I am here attempting to describe. Forkel expressly emphasizes the "pulling-in" motion of the finger-tips. While it has relation solely to finger-action as distinguished from the action of the wrist and arm, it cannot be accomplished properly without bringing into action the flexor and extensor muscles, principally of the forearm from wrist to elbow. Through the medium of this touch pianissimo effects are possible which no other mechanism can reach, for passages of the most extreme delicacy and softness still retain the quality of vitality and clearness of outline.