"Learning to play the piano is learning to reason with your muscles. One of the recurring story lines of my first years with Leland was learning how to cross my thumb smoothly under the rest of my hand in scales and arpeggios. He devised a symmetrical, synchronous, soul-destroying exercise for this, in which the right and left thumbs reached under the other fingers, crablike, for ever more distant notes. Exercises like this are crucial and yet seem intended to quell any natural enthusiasm for music, or possibly even for life. As you deal with thumb-crossings, or fingerings for the F-sharp-minor scale, or chromatic scales in double thirds, it is hard to accept that these will eventually allow you to probe eternity in the final movement of Beethoven’s last sonata. Imagine that you are scrubbing the grout in your bathroom and are told that removing every last particle of mildew will somehow enable you to deliver the Gettysburg Address."