instance, I teach the pupil to find the triad and the dominant chord of
the seventh, with their transpositions in every key, and to practise
them diligently; and to make use of these chords in all sorts of new
figures and passages. But all this must be done without haste, and
without tiring the pupil too much with one thing, or wearing out the
interest, which is all-important.

After that, I teach them to play fifty or sixty little pieces, which I
have written for this purpose. They are short, rhythmically balanced,
agreeable, and striking to the ear, and aim to develop gradually an
increased mechanical skill. I require them to be learned by heart, and
often to be transposed into other keys; in which way the memory, which
is indispensable for piano playing, is unconsciously greatly increased.
They must be learned _perfectly_ and played well, often, according to
the capacity of the pupil, even finely; in strict time (counting aloud
is seldom necessary) and without stumbling or hesitating; first slowly,
then fast, faster, slow again, _staccato_, _legato_, _piano_, _forte_,
_crescendo_, _diminuendo_, &c. This mode of instruction I find always
successful; but I do not put the cart before the horse, and, without
previous technical instruction, begin my piano lessons with the
extremely difficult acquirement of the treble and bass notes. In a word,
I have striven, as a psychologist and thinker, as a man and teacher, for
a many-sided culture. I have also paid great attention to the art of
singing, as a necessary foundation for piano-playing. I have devoted
some talent, and at least an enthusiastic, unwearied love to the
subject. I have never stood still; have learned something of teaching
every day, and have sought always to improve myself; I have always been
something new and different, in every lesson and with every child; I
have always kept up a cheerful, joyous courage, and this has usually
kindled the same in my pupil, because it came from the heart. Moreover,