ies. Although
these variations may seem to you too easy, I am governed in the
selection of them by the maxim that "what one would learn to play finely
must be below the mechanical powers of the pupil." The theme of the
Italian song, which is the basis of these variations, is very well
chosen, and you must take great pains to execute it as finely as
possible, and to produce a singing effect upon the piano-forte. After
the piece is thoroughly learned, you will be greatly aided in the
production of this imitation of singing by the careful and correct use
of the pedal which raises the dampers. The theme does not offer great
mechanical difficulties; but it requires a loose, broad, full, and yet
tender touch, a good _portamento_, and a clear and delicately shaded
delivery; for you must remember that "in the performance of a simple
theme the well-taught pupil may be recognized."

EMILY. But you do not begin at the beginning: there is an introduction
to the piece.

DOMINIE. Perhaps we shall take that at the last: I can't tell yet when.
A great many things in my instruction will seem to you misplaced: it may
be that the final result will restore to me the approval which I desire.

EMILY. Do you always give such a preliminary description before you
begin a piece with a pupil?

DOMINIE. I like to do so; for I wish to create an interest in the piece,
and to state in connection my principles and views about music and
piano-playing. Now we will try the theme, first quite slowly; and then
the first easy variation, with the last bars at the end of it, which
introduce the theme once more, and which should be played very clearly
and smoothly. We will then take from the introduction only the right
hand, and study the most appropriate fingering for it. I never write
this out fully; but only intimate it here and there, in order not to
interfere with the spontaneous activity of the learner. We will also
take a few portions for the left hand from the finale. In these you must
carefully observe the directions which are given for its performance,
and try to execute every thing correctly and clearly; for a careless
bass is prejudicial to the very best playing in the treble.

My lesson is now at an end; for we have taken up a good deal of time at
the beginning with the scales, and passing the thumb under correctly,
with the different species of touch, and the appropriate exercises for
these. I do not wish you yet to practise the first variat