His methods appear progressive, flexible, nuanced, emphasizing the individuality of the student and leading the student on by means of the enjoyment of music-making rather than harsh discipline and drills. For him, mere finger dexterity was not the focus, and he did not advocate monotonous, mechanical exercises. He emphasized evenness of tone, a beautiful, song-like legato, and expressiveness. While including finger-stretching exercises to increase the student's span, he was careful to avoid fatigue by limiting the number of hours of practice per day and insisting on long walks and fresh air. Overall musical development was essential, achieved by lessons in theory, counterpoint and composition, and regular exposure to the best possible musical performances.