If once he has got the right fingering, plays in good time, with the notes fairly correct, then only pull him up about the rendering; and when he has arrived at that stage, don__ let him stop for the sake of small faults, but point them out to him when he has played the piece through. . . I have always adopted this plan; it soon forms musicians which, after all, is one of the first aims of art and it gives less trouble both to master and pupil.
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