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It is highly recommendable to transpose these exercises into the other keys, and to practise them with equal zeal and attention. After having thus prepared the ground for scale-playing, the scales may now be begun from the very first : the scale-practice ought to extend over four or five octaves. It is a decided mistake to play the scales only within one or two octaves, and to stop on, or give an accent to, the tonic or principal note. An extension of the compass in scale-practice is very necessary for the acquisition of an even and easy movement of the arms and body. Although the scales are generally played in the order beginning with C major, and proceeding from the key of one sharp or flat to that of six sharps or flats, we should recommend, for the sake of becoming thoroughly acquainted with the mode of fingering, the following order.

Taking the right hand, we find one scale only in which the thumb comes on the fifth note, namely:

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F major:

In seven scales the thumb comes on the fourth note, namely:

Two scales place the thumb on the third note, namely :-

Two scales place the thumb on the third note, namely:

In two scales we find the thumb on the second note, namely, in the scale of:

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In the left hand we find that the thumb is employed in six scales on the fifth note, namely, in the scales of:

The fingering for the scales in minor keys remains the same, with the exception of the scale in F sharp
minor, which, for the right hand, takes the following fingering:

which place the thumb in the minor mode on the second note.

It is very advisable to practice the scales according to this classification ; a great deal of doubt about the way of fingering will thus be avoided.

In executing the scales, the chief difficulty is found in passing the thumb under the fingers and the second  and third fingers over the thumb.

Somewhat to lessen this difficulty, the scholar should bend the hand a little inwards, thoi gh not in too great a degree. By this position, the thumb of the right hand, in ascending the scale, and the second and third finger in descending, will have to reach a shorter distance, and the execution becomes more easy. The same is the case in the left hand, with the thumb in descending and the fingers in ascending.

To render this position of the hand more easy, the arm should be kept a short distance from the body, and must be moved along with the hand ; at the same time it should be kept perfectly steady ; there must be no twisting or turning.

When the thumb is to pass under the fingers, as each finger touches its note the thumb should be directly  under it, so that it may reach its own key exactly at the right moment. By attending to this method all twisting
and turning of the hand can be avoided.

The student must pay especial attention to the thumb in practising the scales, and must take care that it passes under the fingers in the manner just described ; and this strict attention should be kept up until perfect
facility and fluency are attained.

Many players allow the first finger of the right hand in ascending the scale, and the first of the left in descending, to linger upon its key. Great care must be taken to avoid this fault.

As the passing under of the thumb is more difficult to execute than the passing over of the second and third fingers, the ascending scale must be practised more frequently with the right hand, and the descending with the left ; and let each be practised separately at first.

When both hands are taken together, the student should practise the scales of C, G, D, A and E major first, especially moving the hands from each other. Greater equality in the two hands is obtained in this way, because the corresponding fingers are passed under and over at the same moment.

Playing the scales in parallel motion presents some difficulty at first, because this correspondence does not take place. When a wrong key is struck, or a fault in fingering is made, the student must begin the scale again, instead of correcting the error where it occurs. In this way only can certainty and accuracy of execution be attained.

So soon as the student can play the scales in contrary motion and in parallel motion, in octaves, with perfect certainty, he should practise them in tenths, thirds and sixths.

When he has acquired a firm, even touch, he should practice them with different effects of light and shade, particularly with a crescendo in ascending, and a decrescendo in descending. This prepares the way for a rule which is almost universally required in musical expression. In crescendo playing the too common habit of hurrying must be carefully guarded against.

The beauty of scale-playing consists in its equality, roundness and uninterrupted continuity ; there ought not to be the smallest indistinctness ; there should be neither hurrying nor hesitation ; no note more prominent than the others, except where the composer has indicated such an intention. There is a peculiar charm in that swift and even process of gliding over the key-board, more particularly if the performer has a graceful movement of the hand and a quiet, firm, yet natural and easy position at the piano. Many hours of diligent and attentive practice are necessary to overcome these difficulties, but the student may be certain that in good scale playing will be found the true and real foundation for an even, satisfactory, and musician-like performance.