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 variation with both hands together, for you do not yet strike the skipping bass evenly enough and with sufficient precision; and you might accustom yourself to inaccuracies, especially as your left hand has, as usual, been neglected, and is inferior to the right in lightness and rapidity.  We shall find this a hindrance; for the object is not to practise much, but to practise correctly.  Therefore play these passages first slowly, then quicker, at last very fast; then slow again, sometimes staccato, sometimes legato, piano, and also moderately loud; but never when the hands and fingers are fatigued, therefore not too continuously; but many times in the course of the day, and always with fresh energy.  At present, you need not play fortissimo, or with the pedal:  for in that way you might be led into a tramping style, with a weak, stiff touch, and a habit of striking at the keys with straight fingers; and that I do not like.  We will look for the true and the beautiful in a very different treatment of the piano; and, first of all, in a clear, unaffected, healthy performance, free from any forced character.

Second Lesson. Transposition of the triads and dominant chord in their three positions, and in various kinds of measure; and practice of these, with careful attention to a correct touch and loose wrist; cadences on the dominant and sub-dominant; practice of the skipping bass in the theme, and in the first and third variations, with practice in striking and leaving the chords, observing carefully the precise value of the notes.  You must attend also to striking them not too forcibly or too feebly, and take special care with regard to the fourth and fifth fingers, which do not easily give the tone with so full a sound as the other three fingers.  Now we will try the theme with both hands together, and consider the correct expression, and likewise the piano and forte, as well as the nicest crescendo and diminuendo.  We will then take the first easy variation, of which you have already acquired a mastery:  we will play it exactly a tempo and with the bass chords, which should usually be given staccato, and which must be played with delicacy and flexibility; but it will be well for you to practise first the bass part once alone, in order that you may hear whether all the tones sound evenly.  Now the first variation will go pretty well with both hands together; with increasing mastery of it, the requisite shading in the right hand can be produced.  As your right hand is not yet tired, play to me now several times, first slowly and then faster, the passages which I gave you from the introduction.  When the right