With respect to his playing with you, when he has finally acquired the
proper mode of fingering, and plays in right time, and gives the notes with
tolerable correctness, you must only then first direct his attention to the
mode of execution; and when he is sufficiently advanced, do not stop his
playing on account of little mistakes, but only point them out at the end
of the piece. Although I have myself given very little instruction, I have
always followed this system, which quickly forms a _musician_; and this is,
after all, one of the first objects of art, and less fatiguing both to
master and scholar. In certain passages, like the following,--

[Music: Treble clef, sixteenth notes.]

I wish all the fingers to be used; and also in similar ones, such as
these,--

[Music: Treble clef, sixteenth notes.] &c.
[Music: Treble clef, sixteenth notes.] &c.

so that they may go very smoothly; such passages can indeed be made to
sound very _perlés_, or like a pearl, played by fewer fingers, but
sometimes we wish for a different kind of jewel.[1] More as to this some
other time. I hope that you will receive these suggestions in the same
kindly spirit in which they are offered and intended. In any event I am,
and ever must remain, your debtor. May my candor serve as a pledge of my
wish to discharge this debt at some future day!

Your true friend,

BEETHOVEN.