"The student should concentrate on: Improving both the polyphonic (individual tone-value of the fingers) and legato playing - Expressive merging of the rubato tempo with the musical phrasing - Development of extension - Melodic use of the pedal.) Difficulties to overcome: Intesnse expresiveness imparted by the weaker finers and the particular position of the hand arising therefrom. Legato by portamento (finger-substitution). Firmness of attack in striking the double notes when these are widely spaced. ... The rubato tempo maintained throughout the Study must moreover never be either fitfully marked or exaggerated in any way. Indeed it should follow faithfully the natural quickening or slowing of declamation which sometimes lingers throught emotion, and at other times is sped on by eagerness. As to the pedal, like in most compositions of similar nature, it should be used almost exclusively for bringing out the melodic line. Consequently, avoid using it in an elementary manner, extending it over whole harmonic groups; it should, in the contrary, be changed frequently, and the intervals necessary to lift it between beats should be as short as possible."