24. Beethoven’s words (as Hirsch dictates them) bear an uncanny resemblance to a well-known passage in Carl Philipp Emanuel Bach’s Versuch über die wahre Art das Clavier zu spielen, II (1762), in the chapter “Von der freyen Fantasie”(§.11), 335: “Auf eine noch kürzere, und dabey angenehm überraschende Art in die entferntesten Tonarten zu kommen, ist kein Accord so bequem und fruchtbar, als der Septimenaccord mit der verminderten Septime und falschen Quinte … ” (For a yet shorter and agreeably surprising way to move to the most remote keys, no chord is more adept and fruitful than the seventh chord with the diminished seventh and diminished fifth.) Beethoven drew heavily on the earlier chapters of Bach’s Versuch II in the preparation of teaching materials around 1809 (see Gustav Nottebohm, Beethoveniana: Aufsätze und Mittheilungen [Leipzig: C. F. Peters, 1872], 162–170); if the final chapter never appears among Beethoven’s excerpts, wecan yet be confident that he knew it well. And it is good to remind ourselves of the primary place of the Versuch in the teaching of Beethoven’s piano students. “But above all get him Emanuel Bach’s ‘Lehrbuch über die wahre Art das Clavier zu spielen,’ which he must bring with him next time,” Beethoven advised Carl Czerny’s father at their first meeting in 1800/01. See Carl Czerny, Erninnerungen aus meinem Leben, ed. Walter Kolneder (Strasbourg & Baden-Baden: P. H. Heitz, 1968), 15.