agreeable. I keep constantly in view the formation of a good technique;
but I do not make piano-playing distasteful to the pupil by urging her
to a useless and senseless mechanical "practising." I may perhaps teach
the treble notes after the first six months or after sixty or eighty
lessons, but I teach them in my own peculiar way, so that the pupil's
mind may be kept constantly active. With my own daughters I did not
teach the treble notes till the end of the first year's instruction, the
bass notes several months later.

FRIEND. But what did you do meanwhile?

DOMINIE. You really ought to be able to answer that question for
yourself after hearing this lesson, and what I have said about it. I
have cultivated a musical taste in my pupils, and almost taught them to
be skilful, good players, without knowing a note. I have taught a
correct, light touch of the keys from the fingers, and of whole chords
from the wrist; to this I have added the scales in all the keys; but
these should not be taught at first, with both hands together. The pupil
may gradually acquire the habit of practising them together later; but
it is not desirable to insist on this too early, for in playing the
scales with both hands together the weakness of the fourth finger is
concealed, and the attention distracted from the feeble tones, and the
result is an unequal and poor scale.

At the same time, I have in every way cultivated the sense of time, and
taught the division of the bars. I have helped the pupils to invent
little cadences with the dominant and sub-dominant and even little
exercises, to their great delight and advantage; and I have, of course,
at the same time insisted on the use of the correct fingering. You see
that, in order to become practical, I begin with the theory. So, for