Thus he will remain in the present, where there is so much remaining to be accomplished.

These three trifles certainly do not have their root in folly, want of talent, and hare-brained madness; therefore the possessors of the latter must look to the "future," and proclaim a "higher," that is, an "inverted beauty." _Rules for Piano Pupils._ You must never begin to learn a second piece until you have entirely conquered the first.
You ought to fix your eyes very carefully on the notes, and not to trust to memory; otherwise, you will never learn to play at sight.
In order to avoid the habit of false fingering, you should not play any piece which is not marked for the proper fingers.
You should learn to play chords and skipping notes, without looking at the keys, as this interferes with a prompt reading of the notes.
You must learn to count nicely in playing, in order always to keep strict time.
To use for once the language of the times, which boldly proclaims, "Such things as these belong to a stand-point which we have already reached," I wish that the musicians of "the future" may as happily reach their "stand-point," not by hollow phrases and flourishes, and the threshing of empty straws, but by practical, successful efforts, and striving for that which is better.
* * * * * "What is the value of your method, in the instruction of pupils who have for years played many pieces from notes, but have played them badly, and whom we are called upon to lead into a better way of playing ?" A reply to this frequent inquiry can be found in my first chapter.

Above all things, let the notes which have already been played be laid aside for a long time; for a mistaken style of playing these has become so confirmed that to improve them is hopeless, and the tottering edifice must fall to the ground.

First, improve the touch; help to acquire a better and more connected scale; teach the formation of different cadences on the dominant and sub-dominant; and the construction of various passages on the chord of the diminished seventh, to be played with correct, even, and quiet fingering, _legato_ and _staccato_, _piano_, and _forte_; pay strict attention to the use of loose fingers and a loose wrist; and allow no inattentive playing.

You may soon take up, with these studies, some entirely unfamiliar piece of music, suited to the capacity of the pupil.