confidence in the performance, and gives rise to stumbling, bungling,
and hurry. The mechanical powers should be cultivated by studies and
exercises, in preference to pieces, at least to those of certain famous
composers, who do not write in a manner adapted to the piano; or who, at
any rate, regard the music as of more importance than the player. This
may apply even to Beethoven, in the higher grade of composition; for his
music is full of danger for the performer. The only course which can
ever lead to a sure result, without wearying both pupil and parent, and
without making piano-playing distasteful, is first to lay a foundation
in mechanical power, and then to go on with the easier pieces by Hünten
and Burgmüller. If you try to produce the mechanical dexterity essential
for piano performance by the study of pieces, except with the most
careful selection, you will waste a great deal of time and deprive the
pupil of all pleasure and interest; and the young Lizzie will be much
more interested in the hope of a husband than in the satisfaction of
performing a piece which will give pleasure to herself and her friends.
There can be no success without gradual development and culture, without
a plan, without consideration and reflection,--in fact, without a
proper method. How can there be any good result, if the pupil has to try
at the same time to play with a correct touch, with the proper
fingering, in time, with proper phrasing, to move the fingers rightly,
to gain familiarity with the notes, and to avoid the confusion between
the treble and the bass notes,--and in fact has to struggle with every
thing at once? And what vexations! what loss of time without success!

(_Shepard listened with attention, and a light seemed to dawn upon
him._)

(_Dominie and Shepard go in to tea._)