Once they can recognise the motif entries form the score, we start actually playing the motifs. At this point I will give the student a score where only the motifs appear, all other notes being deleted. We will practise this score until the student can play the whole piece (motifs only) perfectly. Our aims now are: correct fingering, development of the necessary movement/finger co-ordination to tackle the motif sequence, and motif recognition (as s/he plays, s/he must say what s/he is playing: motif, inversion or retrograde). S/he must be able to play the whole piece twice: one bringing out the inversions, the next bringing out the retrogrades. Finally, and this is really the most important: S/he must be able to play the piece without bringing out either inversion or retrograde, for if you do so you destroy the ambiguity.