I have taught a correct, light touch of the keys from the fingers, and of whole chords from the wrist; to this I have added the scales in all the keys; but these should not be taught at first, with both hands together.

The pupil may gradually acquire the habit of practising them together later; but it is not desirable to insist on this too early, for in playing the scales with both hands together the weakness of the fourth finger is concealed, and the attention distracted from the feeble tones, and the result is an unequal and poor scale.
At the same time, I have in every way cultivated the sense of time, and taught the division of the bars.

I have helped the pupils to invent little cadences with the dominant and sub-dominant and even little exercises, to their great delight and advantage; and I have, of course, at the same time insisted on the use of the correct fingering.

You see that, in order to become practical, I begin with the theory.

So, for instance, I teach the pupil to find the triad and the dominant chord of the seventh, with their transpositions in every key, and to practise them diligently; and to make use of these chords in all sorts of new figures and passages.