skipping bass with more precision, more briskly and evenly. We begin to
perceive the correct speaking tone in the bass, and a certain delicacy
and freedom in the treble. You need not play both hands together in the
second variation, which is the most difficult, until the next lesson.
To-day you may first play the bass alone, while I play the treble; and
afterwards we will change parts, and you can play the treble while I
play the bass. But we will not go farther than the fourth variation. I
have not much more to say about this piece. We will begin next a
beautiful Etude by Moscheles, which I recommend highly to you, in order
to strengthen and give facility to the fourth and fifth fingers: this
may be your companion and friend during the next two or three months.

MRS. SOLID. Your very careful mode of instruction assures me that Emily
will acquire a mastery of these variations, and will learn to perform
them finely.

DOMINIE. She will be able, after a week or two, to execute this piece
with understanding and confidence, and to play it to her own
satisfaction and that of others; while her awakened consciousness of its
beauties and of her ability to interpret it will preserve her interest
for it.

The objection is quite untenable "that children lose their pleasure in a
piece, if they are obliged to practise it until they know it." Do people
suppose that it gives more pleasure, when the teacher begins in a
stupid, helpless way, and tries to make the pupil swallow several pieces
at once, while he continually finds fault and worries them, than when
the pupil is enabled to play a few short, well-sounding exercises, with
perfect freedom and correctness, and to take delight in his success? or
when afterwards, or perhaps at the same time, he is conscious that he