In Clementi these signs appeared first. What he had to say was little; but what he had to teach was only the more in consequence. He collected, he tested, he drew out his experiences, and never willingly abandoned the historical attitude. This was the first recoil on the classical period. Clementi’s Studies were so fruitful that even a Beethoven was not unmoved by them; although of course there were many who opposed themselves to his speciality, the passages in thirds and sixths for one hand. Mozart hated this unrest; he aimed at a graceful and easy style. But the growth of technique soon shook off this old-fashioned rococo method; it aimed at universal conquest. As Clementi still lives in what we may call his “_grand-pupils_,” so his Gradus ad Parnassum has remained the father of all Étude-works, often reprinted, often re-edited. It is easy to recognise in it its antiquated constituent parts. No principle of distinction is adopted between the fingering of diatonic and chromatic scales. In his directions Clementi begins his chromatics with _E_. The Études move in a peculiar middle region between compositions and exercises. Single Études, like the splendid Presto in F sharp minor, reach the heights of a Cramer (Simrock, 24). He even provides genuine fugues in order that the fugal style may also be practised. In one Étude (Simrock, 38) cantabile and triplets are mingled as exercises. Often again three pieces appear together as a suite--a patriarchal retention of old customs. Others again are mere dry and insipid instruction-exercises. We follow with pleasure the process by which fixed technical problems gained in content as time went on. For example, the change of finger on one key is in Clementi a mere tedious motive with three notes only (Simrock, 20). In Cramer (Pauer, 41 ff) is already perceived the charm which short held notes may introduce into this monotonous exercise; and the drollery which a change of fingers as the characteristic motive carries concealed in itself, gives the character to the piece. Chopin, in his well-known C major study (Op. 10, 7), gives us a good example of this scheme of fingering, which is carried out strictly, the alternation of thumb and first finger never being interfered with, even on the black keys, in spite of the various awkward chords that occur. Thus he gives perfect freedom to the piquant turns and droll character of the piece without to any extent spoiling its effectiveness as an Étude.