A piano is an instrument with eighty-eight keys and twenty installments. You play on the keys and pay on the installments—the latter being by far the more difficult performance. If you do not play in time, you are called down by your critics; if you do not pay on time, you are called on by your collectors.

The keys are arranged in two rows—short, fat blondes in front, and tall, skinny brunettes behind. There are three pedals (one for each foot, and one for good measure): the damper pedal (or muffler cut-out), which puts an end to conversation; the sostenuto pedal, which helps the piano sustain what it has to sustain; and the soft pedal, which is seldom used, and then only by request.

There are two kinds of pianos—uprights and prostrates. Uprights are used in homes where there is standing room only. Prostrates are used in concert halls—virtuosi prefer them, because they can hit a piano much harder when it is down. The upright piano is frequently pitched in A flat. It remains there till pitched out by the neighbors.

An advantage that this piano possesses is that it keeps the player's back turned to his hearers, which is a great saving to his feelings. Another advantage is that the top serves as a mantelpiece annex; bric-a-brac that won't stand heat but will stand noise is put there. Anything is appropriate—cupids, shepherdesses, brass bowls, painted vases. The only requirement for a place on this repository is that the object be able to make some buzzing, twanging, wheezing, or humming sound when the strings are struck.

Prostrates are built for endurance. Their black finish bespeaks the hard life they lead.

A conflict between one of these indestructible pianos and an irresistible pianist is called a recital. A non-combatant lifts the lid, and the fight begins. FIRST ROUND: Nocturne. (Merely warming up.) SECOND ROUND: Etude. (Livelier, but not much heavy hitting.) THIRD ROUND: Scherzo. (Considerably hotter; fighting in close.) FOURTH ROUND: Appassionato. (Real slugging.) FIFTH ROUND: Rhapsodie. (Piano receives fearful punishment. Knocked out in final cadenza, but pianist sprains wrist.)

In learning to play the piano, the first thing to acquire is a good touch, or tread (as it is properly called). Unfortunately, there is a divergence of opinion among authorities as to what a good tread consists in; the famous dictum of Prof. Biffski, of Moscow Conservatory, that you should hammer the hammers, being offset by the equally famous assertion of Hieronimus Dudelsack, the noted Viennese pedagogue, that you should not strike the ivories at all, but massage, or knead them. Herr Dudelsack and his eminent pupils maintain that his tread is the only normal one, that it has the naturalness of a cat's walking on the keyboard. But the astute Russian insinuates that it produces tangled chords and scales that are short-weight.

But these methods have been rendered obsolete by the heel-and-toe technique of the playerpiano. This wonderful instrument, impregnating the feet with melody and rhythm, has given rise to the modern dances. For a person who makes a habit of playing the pianola simply has to toddle the music out of his ankles.

Even more remarkable is the way in which the piano-footy has simplified musical composition. The masters of the past had to toil away painfully with pen and ink; whereas the composer of today can attain the same results with a roll of paper and a ticket-punch. Judging from the progress we have made and are still making, it is safe to predict that the composer of the future will use a shotgun.