INIE. Well, then, that key is called _d_.

BESSIE. Then this one must be _e_.

DOMINIE. And now comes _f_. Anywhere on the key-board you can find _f_
just as easily, if you put your finger on the lowest of any three black
keys that are together, and let it slip off on to the white key next
below it. If you remember where these two keys, _f_ and _c_, are, both
in the treble and the bass, you can easily find the names of all the
other keys. Now what is the next key above _f_?

BESSIE. _g_, and then _a_, _b_, _c_.

DOMINIE. Now we will say over several times the names of the keys,
upwards and downwards, and learn to find them skipping about in any
irregular order. At the end of the lesson we will try them over once
more, and before the next lesson you will know the names of all the
white keys. You must practise finding them out by yourself; you can't
make a mistake, if you are careful to remember where the _c_ and the _f_
are.

I told you that the sounds this way (I strike the keys upward) grow
higher, and this way (I strike them downwards) they grow lower. So you
see no tones are just alike: one is either higher or lower than the
other. Do you hear the difference? Now turn round so as not to see the
keys; I will strike two keys, one after the other; now which is the
highest (the sharpest), the first or the second? (I go on in this way,
gradually touching keys nearer and nearer together; sometimes, in order
to puzzle her and to excite close attention, I strike the lower one
gently and the higher one stronger, and keep on sounding them, lower
and lower towards the bass, according to the capacity of the pupil.) I
suppose you find it a little tiresome to listen so closely; but a
delicate, quick ear is necessary for piano-playing, and by and by it
will become easier to you. But I won't tire you with it any more now, we
will go on to something else. Can you count 3,--1, 2, 3?

BESSIE. Yes, indeed, and more too.

DOMINIE. We'll see; now keep counting 1, 2, 3, 1, 2, 3, as evenly and
regularly as you can. (I lead her to count steadily, and strike at the
same time a chord in three even quarter-notes.) Now we'll see if you can
count evenly by yourself. (I count 1 of the chord with her, and leave
her to count 2 and 3 by herself; or else I count with her at 2, and let
her count 1 and 3 alone; but I am careful to strike the chord promptly
and with precision. Afterwards I strike the chord in eighth-notes, and
let her count 1, 2,