One thing more: you know very well Chopin's Nocturne in E flat, and have played it, among other things, for the last four weeks.

Suddenly you are called upon to play in company.
You choose this Nocturne because you have played it nearly every day for four weeks.

But alas! the piano fiends have come to confuse you! You strike a false bass note, and at the modulation the weak little finger touches too feebly: bah! the fundamental tone is wanting.

You are frightened, and grow still more so; your musical aunt is frightened also; the blood rushes to your teacher's face, and I mutter to myself, "_C'est toujours la meme._" The present style of skipping basses requires a great deal of practice and perfect security; it is necessary for you to know the piece by heart, in order to give your whole attention to the left hand.

It is also essential that you shall have acquired a clear, sound touch; otherwise, you cannot give a delicate accent and shading.