llustrate
by the glissando over the keyboard. Of studies he gave after
this a selection of Cramer's Etudes, Clementi's Gradus ad
Parnassum, Moscheles' style-studies for the higher development
(which were very sympathetic to him), and J. S. Bach's suites
and some fugues from Das wohltemperirte Clavier. In a certain
way Field's and his own nocturnes numbered likewise with the
studies, for in them the pupil was--partly by the apprehension
of his explanations, partly by observation and imitation (he
played them to the pupil unweariedly)--to learn to know, love,
and execute the beautiful smooth [gebundene] vocal tone and
the legato.

[FOOTNOTE: This statement can only be accepted with much
reserve. Whether Chopin played much or little to his pupil
depended, no doubt, largely on the mood and state of health he
was in at the time, perhaps also on his liking or disliking
the pupil. The late Brinley Richards told me that when he had
lessons from Chopin, the latter rarely played to him, making
his corrections and suggestions mostly by word of mouth.]

With double notes and chords he demanded most strictly
simultaneous striking, breaking was only allowed when it was
indicated by the composer himself; shakes, which he generally
began with the auxiliary note, had not so much to be played
quick as with great evenness the conclusion of the shake
quietly and without precipitation. For the turn (gruppetto)
and the appoggiatura he recommended the great Italian singers
as models. Although he made his pupils play octaves from the
wrist, they must not thereby lose in fulness of tone.

All who have had the good fortune to hear Chopin play agree in declaring
that one of the most distinctive features of his style of execution was
smoothness, and smoothness, as we have seen in the foregoing notes, was
also one of the qualities on which he most strenuously insisted in the
playing of his pupils. The reader will remember Gutmann's statement to
me, mentioned in a previous chapter, that all his master's fingering
was calculated for the attainment of this object. Fingering is the
mainspring, the determining principle, one might almost say the life and
soul, of the pianoforte technique. We shall, therefore, do well to give
a moment's consideration to Chopin's fingering, especially as he was one
of the boldest and most influential revolutionisers of this important
department of the pianistic ar