Interpretation is more concerned with sounds than it is with notes; thus our first aim in "giving a performance" is to produce the kind of sounds that the musical context demands. In assessing quality and quantity of tone, one must always consider the note that has gone before and that which is to follow. Here the pianist has to contend with the limitations of the individual instrument. It is thus more than ever important that he should develop a sensitivity of ear and finger, so that he can gauge the possibilities of touch and tone in their varying qualities. This book is addressed to both the student and the teacher. From experience I have found that many teachers who have excellent results with beginners do not seem to be able to maintain such a high standard with their pupils in the higher grades. This is, I feel, because they have not realized how much of the interpretative side of piano-playing has to be taught. The ability to interpret music is not just a heaven-sent gift, though pupils may vary considerably in their potential artistry. Even the most promising need careful guidance and teaching in the understanding of the basic principles that lie behind the art of interpretation. We cannot apply strict methods and unbreakable rules where interpretation is concerned, and this book simply represents the experience of one of thousands of ordinary music teachers. As such it is offered to all who are interested in piano-playing. - Author's foreword.