of his fugues a select company of persons conversing together. Each was
allowed to speak only when there was something to say bearing on the
subject in hand. A highly characteristic motive, or theme, as
significant as the noblest "typical phrase," developing into equally
characteristic progressions and cadences, is a striking feature of the
Bach fugue. His "Suites" exalted forever the familiar dance tunes of the
German people. His wonderful "Chromatic Fantasia and Fugue" ushered the
recitative into purely instrumental music.

As a teacher he was genial, kind, encouraging and in every respect a
model. He obliged his pupils to write and understand as well as sound
the notes. In his noble modesty he never held himself aloof as superior
to others. When pupils were discouraged he reminded them how hard he had
always been compelled to work, and assured them that equal industry
would lead them to success. He gave the thumb its proper place on the
keyboard, and materially improved fingering. Tranquillity and poetic
beauty being prime essentials of his playing, he preferred to the more
brilliant harpsichord, or spinet, the clavichord, whose thrilling,
tremulous tone, owing to its construction, was exceedingly sensitive to
the player's touch. The early hammer-clavier, or pianoforte, invented in
1711, by the Italian Cristofori, who derived the hammer idea from the
dulcimer, did not attract him because of its extreme crudeness.
Nevertheless, it was destined to develop into the musical instrument
essential to the perfect interpretation of his clavier music.

His son and pupil, Philipp Emanuel Bach (1714-1788), proceeding on the
principles established by his illustrious father, prepared the way for
the modern pianist. His important theoretical work, "The True Art of
Clavier Playing," was pronounced by Haydn the school of schools for all
time. It was highly extolled by Mozart, and to it Clementi ascribed his