and never with weariness. Of course you will practise _without notes_
all the little exercises for the touch, and for the fourth and fifth
fingers, and the cadences.

_Third Lesson._ Other little exercises; trills, scales with shading for
one hand alone and for both together; the skipping basses, &c. We will
begin to-day with the bass part of the second variation. You observe
that often there are even eighth notes in the treble, while in the bass
there are even triplet eighth notes. In order to play these properly
together, even with only mechanical correctness, it is necessary that
the left hand shall acquire a perfectly free and independent movement,
and shall bring out the bass with perfect ease. You must pay special
attention to any weak notes, and accustom yourself not to give the last
triplet, in each bar, and the last note of this triplet, too hurriedly,
too sharply, or with too little tone. Notice how much difficulty this
equal playing of the triplets occasions to the right hand, which moves
in even eighth notes. While you play the left hand, I will play the
right: you must listen as little as possible to my playing, and preserve
your own independence. You must learn to play this variation entirely by
yourself with both hands together; but we must not be too much in a
hurry about it, and must give time to it. All restless urging, all
hurry, leads to inaccuracies in playing. You have learned enough for
to-day; but you may play the other variations, with the whole finale,
straight through, that you may not get into the habit of stopping at the
difficult passages which you have already learned.

_Fourth Lesson._ New exercises for striking stretches, and for the
extension of the hand and fingers; but this must be done prudently,
that the sound touch, which is always of the first importance, shall not
be endangered. Besides this, the repetition of the exercises learned in