Pîano grade 1

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Piano grado 1

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Pîano grade 1

  1. 1. p ; V M_ FORTHE De» LX u_ * @EETDÉDG “É q. : ° , IN TEN GRADBS ~ 9 e V V' a* r Consístíng of Standard Etudes and Studies, arranged in progressive order. Selected from the best composers for the cultívatíon of co: u: e: ue . TECHNIC. TASTE. AND SIGHT READÍNG CarefuIIy Edited and Annotated and SuppIemented With Complete Dírections for the Application of Mason's System of Technics in each Grade for the production of a e: e: ue MODERN STYLE OF PLAYING COMPILED BY W. S. B. MATHEWS STANDARD GRADE . L. STANDARD GRADE v1 STANDARD GRADE 11 STANDARD GRADE vn STANDARD GRADE III É STANDARD GRADE vm STANDARD GRADE IV STANDARD GRADE 1x STANDARD GRADE V STANDARD GRADE X PRICE, $1.00 EAcn GRADE ? Philadelphia *Woborej3'm; m'@. 1712 Élgegnzul Sn".
  2. 2. DICTIONARY OF MUSICAL TERMS. Accelerando ( prorzouneed . - atshe/ erundo), áezoming faster, atrel- eralirzg. Adagío ( pra”. ado/ een), s/ znzrly. Ad libitum, as you please. Lgítato ( proa. tzjeemto), agita/ ea', extiled mllegretto, lira/ y, sonzewlzatfasl. Allegro (A11°), fast, rapid. Andante (Andw), slow otozrenzenl, quiet. Andantíno, sonzewlztzt/ astez' t/ um Andante. Animato, animated, full of soul. Arpeggío (pro/ z. arpetl/ eeo), lzarp-líke; ãreakúzgrvr' dente/ Ling ! lie fortes of a (hard. Assaí, very. A tempo, in regular lime. Basso, the bass. Bis, twice. Cadenza, /Iríl/ iautjlour/ slt before lhe close of a piere. Calando (cal. ), getting : lower and : of/ ei: Calmato, [aimed rlozwz, quiet Cantabíle, Cantando, in a singing s/ yle, Jong-like. Corn, with. Content, l/ Le dislílzttine quality of anypieee. Crescendo (crcsc. ) (prmz. kras/ tendo), mrreasítzg fiz/ arte. Da Cape (D. C. ), from the beginning. Dal Segno (D. S. ) (pro/ I. dal serzyo), j7-om the ségn : Ê Dimínuendo (dim), deerearírzg in s/ rengt/ z. Dolce (dol. ) (pro/ r. Jobs/ toy), soft and sweel. Energ-íco (pmn. e/ zevjeeto), with energy anzlpozoer. Finale (feemz/ t/e/ z), t/ ze last ntm/ entent of a ¡âiere in large form. Fine (pron. feemzy), eml. Forte (f), loud and sim/ Ig. F ortissimo (f), very loud', (fff), as loud as posible. Fbrzato (for/ zelo) (fz), Sforzato Cj', V), strong/ y aaeiz/ uated. Grazioso (gra/ siozo), Con grazía, graafully. Larghetto, no! as slow as Largo. Largo, slow, prolratted; s/ owei' #um Adagia. Legato, tierl, &omni; Legatissimo, 'onj/ mae/ z áouna'. Lento, slmu. I/ istesso Tempo, the same tempo or time. Loco, play the notes as pnhted (used to imíitate listen/ trauma of 81m). Maestoso, wzYh nmjes/ y; dtgrzzj/ íed. Marcato (marc), made praminmt; :Irortgly nzarlzetz'. M. D. , fig/ ll lama'. M. S. , left hmm'. Melanconico, sad. Mezzo, luz/ f; Mezzoforte (mf), nzítidliitg loud; Mezzopíano (mp), IIIÍaÚÍÍÍIIg soft; Mezza voce (m. 11.), wii/ z suppressedexoiee. Mader-ato, ozoríerately. Molto, very, mui/ t, many. mp. , mezzo/ átrio. a píaôere (fran. pia/ share), asyou please, atp/ easure. Piano (p), szft; Pianissimo (jp), very sofl; (ppp), as sJ/ ly as possible. Pin, more; Pin mosso, fas/ er. Pízzicato (püszkaltlo), pit/ king the strings as on 1/12 gui/ m: Poco, un poco, a [HI/ r,- Pocoforte (pf), somem/ tal loud. Presto, guide; Prestissimo, very yuirk. Pulse, tou/ lt, a oral. Rallentando (rall. ), ntarding t/ ze tempo. Rítardando (rítard. , rim), re/ azrding, slower by degrees. Ritennto (ríten. , rít. ), holding back. Scherzando (scherz. ) (pro/ z. skertsando), gay, plug/ ul. Scherzo (prum s/ êerlso), a lizrely tontpasition. ' Semplicita, simply, plainly. Sempre; alzoays. 56H13, without. Scnza Ped. , wíl/ Loufpedzzl. Simile, similar, ecmiínuing in the same ntamm'. Sonore, res-omni. Sostenúto (sosten. ), sustaíned. Sotto voce (pra/ z. 'ootslzay), softly, as if írz : w under-Mae. Spírítoso, Con spírito, wir/ z spirit, livelv. Staccato (stacc. ) cut of : udtíenbu slzort roms. Tempo, l/ ze lime or measure of time. Tempo di marcia, in mare/ z lempo. 'Fcnuto (tem), held. Tutti, all. Un poco, a lülle. Valse, wal/ z; a dante. V ivace (fran. veewatshay), liz/ elga. Vivo, Iü/ zly.
  3. 3. orde l A l a JIL C Consisting of standard Etudes and Studies arranged in progressive r. Selected from the best composers for the cultivation of D TECHNIC, TASTE and SIGHT READING. Q _A , .______ _. . ('@'¡ C: @'arefully Edited and Annotated and supplemented with Complete Directions for the Application of , Masons System of Technics in each Grade for the production of a Modern Style oi' Playing. COMPILED BY W SBMATHEWS. O_ e 3 STA I R¡ STANDARD GRADE VI STANDARD GRADE 11 w STANDARD GRADE TD STANDARD GRADE Ill STANDARD GRADE Vu1° STANDARD GRADE N msg, STANDARD GRADE 1x STANDARD GRADE V »i o STANDARD GRADE X PRICE slooíltgxcH GRADE. Philadelphia jíñob orciYrc/ àaorfg. 1712 Glzeslrgmâltf faq/ tom 1772 4/ l', Heim',
  4. 4. 2 ELEMENTS OF MUSIC NOTATION staff Spaces Leger lines l_ Trelnle or G Clei' E_ Bass or F Clef b a f: É e, Í É T* e : - TT" *T* ' E ; - _ h rt u . d Ê __ rj _ - &% *TÁ '9g1Í, , fl _ g-_Ô ez_ a» E ; THE RELATIVE VALUES OF NOTES, RESTS, DOTS, ETC. Each note or rest is twice the length oi' the succeeding. grouped grouped grouped NOTES D ^ f Whole Half Sixteenth RESTs T _ j_ Dotted Nut B. A dot placed ; After a note increuses its length l›_v but a. dotterl half (aid is equal to three quarter notes (ddd); etc. one half; Ex: a whole note (o) is equal in length to tmohaltnotes When txt-o dots are placed after a notmthe second dot adds halfthe trial); but adatted whole note (o. ) is equal in length to three half value oi' the first. A double dotted whole note would therefore be notes (Jáá). S0 n half note (d) is equal to two quarter notes (Jul, equal to u whole note, a, half note and a. quarter note. E Bar Double Bar Mensure Repeat e 1 l a A EXAMPLES ON THE VARIOUS KINDS OF TIME «r ria" r : :FÉ Triple Time. F E 1 F- ACCIDENTALS É X or i? à É E Sharp DoubleSharp “M Dum” F1” Nuwr” C C shnrp C natural B B flat B natural SECTION OF KEY-BOARD 0F~ PIANOFORTE TREBLE CLEF : ã-"ZZ Clcf F $- a e L. N_ 1 Clef G l I _I : II i-§§§Êãã. ¡i§âF'= “"" ' ' _ . . = l 1 | CDEFGABCDEFGAECDEFGABCDEEGABC Copyright 1892. l907 by Theo. Pressrr.
  5. 5. o MASONS TOUCH AND TECHNIC IN THIS COURSE. The studies of the "Standard Graded Course" will be equally serviceable Whatever technical exercises be employed in connection with them. More rapid command of the key- board, and a better foundation for artistic playing will be laid by the use of the Masorfs "Touch and Technic. " In order to teach these the teacher will be obliged to have mastered the general features of the system, after which the application may be made orally. After becoming familiar with the keyboard the beginner should at once begin the cultivation of a proper position of the hand. In the five-finger position, each finger covers its key. All the finger-joints are curved, so that the entire outer line of the upper side of the hand forms a continuous curve, the ñngers being well rourided. In this position the points do not make a straight line upon the keys but a curved line, owing to the greater length of some than of others. The thumb will lie upon the key to about the extent of the nail. Observe carefully the following: (a) The nail joints must never Collapse and sink in, but always be curved convexly, whenever a tone is being produced. (b) The back of the hand is almost exactly level from side to side, the little finger side practically as high as the other. (c) The wrist is carried 'just a trifle lower than the kriuckle oints. - J (d) The knuckle joints are not quite fiat with the back of the hand, but convexed a little. (e) The palm of the hand is carried rather. high fiom the keys, at least an inch, and not pressed down close to the keys These are the elements of a strong and arched hand, in which every part strengthens every other part. When the hand extends over a wider compass, as iri reach- ing a distant key, it fiattens itself somewhat, but immediately recovers the five-finger position as soon as the extension is passed. After the hand position has been acquired, begin with illrlason Two-Finger Exercise in clinging touch, No i. When this is carried through the fingers successfully, which it will be after a few minutes' training, give the first steps towards 'the exercise for elastic touch, No. 2. Thus the two-finger ' practice will go through the first lesson in these two types. * At the second lesson improve the elastic touch, and introduce i the moderato form, No. 4. Henceforth these three forms go together, as the first part of the daily practice. About the eighth or tenth lesson introduce the second rhythm, Nos. 3, 5, ': 7, etc. Henceforthñarry all together, or if the daily practice is too short to permit so great a subdivision of the matter, give the first rhythm at one lesson and the second at the next and so on altemately. Apply the various forms of expression . indicated in “Touch and Technic. " see Nos. 8 to r 3, etc, About * the fifteenth lesson introduce triple measures, Nos. 14 to i6, etc. , and the velocity forms 17 to 22. About the twentieth lesson take up the broken thirds, Nos. 23 to 4o. When the pupil has worked upon these for about a fortnight, recur again to the exercises in the diatonic scale, Nos. I to 21. Later H come back once more to the broken third forms. *i This will be sufhcient for the two-finger exercises during this grade. The daily practice should amount to about fifteen minutes upon them. The light finger touch in passage- playing will be facilitated by the practice of the Plaidy trip- lets with each hand separately (see No. 53). Later the five- fínger forms will also be useful; and still later the Scales. TEE SCALES. During the early grades at least ñve scales should be played: C, G, D, F, A. Each scale with one hand at a time. At first for the keyboard track (i. e. , the instinctive selection of whatever black keys belong to the signature) and for cor- rect fingering; and then in rhythmic forms of various kinds, preferably in a compass of one octave, or at most two. In simple forms, with one tone to a count, in 4-4, 6-8, and 9-5: measure, continuing each form until the accent is completed by falling upon the tone where it began. Later the same, all measures of 3, 4, 6. 9, and i2 counts, with two tones to unit of time; and afterwards with threc; still later with four. A " Rhythmic Table" may be interposcd at any point where it seems advisalvlc. See "Touch and Technic. " Vol. Il. Exer- cises a, b, c, and Ex, 2, 3, 4. The Scales in the first grade should not exceed one octave compass, and never with both hands together. For a complete table of all major and minor scales in one octave compass see the last page of this volume ARPEGGIOS. It is a matter of choice with the teacher whether the Ar- peggio or the Scale should be given first. Upon the whole perhaps the Arpeggio will be better, on account of its separat- ing the Fingers, and using the four-th as often as any of the others. Moreover the principles of accentuation and of rhythmic grading are more naturally applied to arpeggins than to scales, and the resulting complex unities are moro easily apprehended by the pupils. In the First Grade, or the Second at latest, give the Arpeg- gio of the C position of the diminished chord (“Touch and Technicf' Vol. III, Exercises 1 to 3). This is to be done orally. First teach the placing of the fingers over the chord, beginning with C and skipping over two keys before putting the next finger down, so that the Fingers are equally separated. At the next lesson transfer the accent, and begin upon the exercise in graded rhythm, giving at the first _attempt only the quarters and eighth notes. At the next lesson give the sixtcenth note grade, and apply the same to the transfer of accent. It is, of course, understood that any of these exercises may be introduced as the teacher conceives best: and always in only a small amount with any one lesson. The tendency is to make the technic more fluent, surer and more natural. EAR-TRAININ G. lt Will be much better for the musical future of the studwñt if a certain amount of car-training be administered in conjunc- tiori with the exercise of reading from the notes. lt is desira- ble that the student learn to seize an entire group at a glance. just as one reads an entire word without spelling it out. Pre- liminary to this, the staff can be taught. and the pupil required to place dots upon the proper degrees of a rur": staff (drawn off-hand upon a sheet of paper) according to the teachers playing. Begin this exercise with forms of two tones, as C D C, C E C, C F C, etc. Play the three tones, then have the pupil write them, or at least dot upon the staff to correspond. After a few early attempts of this kind, cause the pupil to tum the back to the keyboard and tell from ear which tones are played, dotting them after naming them. This exercise continued from lesson to lesson, for twenty minutes at each time, will be of great use to the musical comprehension of the written exercises. All the early exercises are to be played with each hand alone before playing them with the two hands together. The proper proportion will be to play each exercise four times through with the right hand, and four times through with the left hand; then four times with both hands together. Count- ing aloud the time from the very first. It may not be thought necessary for the pupil to play so many studies of nearly the same degree of difñculty, but it is better to err in giving too much than too little. Besides, if the exercises are given in sufficient quantity, there will not be too many of them. In other words they will be completed within a reasonable lapse of time.
  6. 6. KERN, C.W. STREABBOG, L. LAWSON, v. NORRIS, HOIIER SALO. lE', Tll. FOREST, izuv. GEIBEL, A. ZIMMERMANN, _I. F. BACHMANIMG KRENTZLDLR. DAVIÊ, AJ. GURLITT, C. SCHUMANNJX. BEHRJ-'RANZ ENGELH. MARTIN, G.D. OEHMLER, LEO WOLF, CARL BECHTER , KARL RATHBUN, F. G. HAMER. G. F. HORVATH, GEZA DE REEFJLE. KERN, C. W. BERGTHALJlUGO BECHTER, KARL ENGELMANNJI. HOLCOMBE, L.V. RENARDJ' ENGELH. PARLOW, E. ENnElAlANNJ-I. ENCKHAUSENJI. PRESSERJH. Material suitable for this Grade ARRANGED IN PROGRESSIVE ORDER Iii Dance Form Key Price No. Red Roses_Waltz, Op1õ6,No.4 G .25 6499 My First WaltZ, Op. ll8,No.2 C .15 2380 London Bridge F .25 6580 In the BoahWaltz G 25 5509 Flying the Kite, Op. -11,No.1 G 20 4164 Hearfsmase Waltz C .25 5010 (TrrlI/ r* C/ rywu/ _I/ x llip. Soop Schottisclie F .25 405 Our First Waltz F .25 2166 Cr-ndrillomVnlw C _20 3000 Little Brothergwziltz,0p.2'l, No.2 C .20 5922 (T/ 'vb/ c 011;/ only) I Am a Soldier-March C .25 4862 Marchofthe Tin SoIdiers,0p130 F .15 6542 Soldiers Mnrch, Op.68, No.2 G .20 854 Gaily Chnnting Waltz, Op. 503 F 20 3152 Flying Sparks-Galop, Op.3,No.6 G .25 4185 Little Lovers-Waltz t' .40 4347 Playing Soldier, 0p.76,No.1 C .40 5694 (Trab/ e Cie/ only) Fun in the Plnyroom_Waltz. C .30 6746 (Trab/ e Clrjo/ z/y/ Bicycle Galçp f' .35 5009 Danse Semplioe C 25 2215 Brier Rose-Waltz G .30 4306 March ofthe Little Soldiers, 20 G The Jolly Trumpeter, Op. Wma 3 F l '20 3864 The Nlurch of the Gnomos C .25 4932 Tin Soldiers' ParadmOp 19,No 5 G .25 4323 Soldiers' March, Op. 11, No.2 G 25 6882 Jolly Darkies G .35 5008 To the Dinner,0p.556,No.5 D .30 3819 Little Carly-Head Maroh, Op.6 C .25 8216 Morning Glory_ Polka C .30 4297 Little Drum MajonMarch,0p 3. D .26 4184 ln Measured Tread. C .30 4291 Little MissPiide_Schott. ,0p.607 C .25 4099 Four Hands Melodious Studies, Op. 58310.1 .60 1693 School of Four Hand Playing, Vol. l. $1.00 992 LE COIÍPPEY, F. Melody .35 4381 SARTORKLA. Boy nt Play, Op.222,No.8 .20 2509 Hllil. ER, P. Meadow P1ity,0p.82,No.2 .20 8831 SCllNECKElLlÂAJiiistic Dance .40 4411 HILLEILP. Secret W'ishes,0p. ñ1,No.6 .20 1978 SCHLESINGERS. The Hunfs Up .40 4392 . i ii Burial of ai. Doll .40 4390 AL u Hunters' ? vlairch .40 4080 GÔERDICLEILR. Young America ll<i'cli .40 3367 H A ILTHAN. Hz Childhood Days .50 THE DUET HOUR, V›ir¡ous Compoñers .50 . Collections STANDARD COMPOSITIONS, Vol. I,Gd. I,C'›mp. byWSJiMathews. .50 STANDARD FIRST AND SECOND GRADE PIECES, Compiledby V_S_B, _1'thews;41 Pieces, '77 Pages; Classical and Popular 31.00 TlVENTY- FOUR PIECES FOR SMALL HANDS, Hlngelmann . '50 LITTLE HOME PLAYElLVnrious Composers .50 FIRST FARLOR PIECES. u . i .50 FIRST DANCE ALBUM H ii .50 TUNES AND RHYMES FOR THE PLAYROOM, .50 Vocal or Instrumental, Geo. L. Spsulding Semi-Popular and Classic SPAULDING, G.L. H H u t( 1¡ u scHUiiANN, R. REI-IR , 1-'. KERN, C. W. LXNDSAY, CHAS. RICKABY, T. L. H u u ENGELMAIN, H. SWIFT. N. E. BEETHOVIN, L. v. HAYDN, FRJOS. KERN, c. w. FERBER, n. LAWSON, PAUL LianER , A. NURNBERG, H. SPAULDING, G . L. SWIFT, N. E. THOME, r. Müttsmarc. REINECKPLC. GURLITLC. GEIBELA. METZLERJB. BEETHOVEN, L.V. SARTORIQA. Noxuurnmu. GURLITT, C. neon-naum. FERBER , R. TROJELLLA. TSCHAIKOWSKYJ'. SCHNECKEILRA. HIPSHERJZE. ENGELMANBLH. CZERNY, C. BEQEYSJ-l. DUVERNOY, J.B. WOLFF, B. CZERNY, C LOESCHHORN, A. KIIHNER, C. Key Price No. Do1lie's Dream C .25 5716 (Trab/ e Ole/ only) The Little Stranger C .25 5719 (freble (Uefa/ dy) Bunch of Flowers F . '25 0631 (IV/ m ter! ) . lelody,0p.63,No.1 C . '20 354 Child's Play, Op.575,Nn.3 C .20 3352 (fralda Olaf only) Sunset Glov.0h/15(i, No. 2 G .25 6497 Early Mam C . '25 6680 ( ? rnb/ e 0/4/ only) Well-known and Favorite Melody es, Op.19,Nos.1-6inrlusíve, C, G,F, D .60 3312 Well-known and Favorite Mclodies. Op.40,Nos.1- 6 inclusive, C. F. G .80 5561 Day Dreams, Op. 487, No.1 C .25 3459 (T/ 'Hble (Yqf only* Katydid,0p.7,'o.3 G .15 3097 (T/ 'eb/ n / Vafor/ /y J Allegretto from 7thSympliony, A Min. : i5 “g3 Andante from Surprise Symphony, C ' Song of the Katydid, Op.19,Nn.2 C .25 4920 With the. Caravan A Min. .25 2785 Playful Kittians F 6572 (Trab/ e Ole/ only) i ' A Little Hong G .25 3808 â: .ít. f.'z““°'“? f”'”fõil. °*â 2 : eo Tin Pan Guards'Paraxle G .25 5787 ( ÍVÍÍÍI tem¡ 1 The Tally-Ho, Op.7, No.7 G .15 3101 First Melody C .20 4802 Cradle Song C .25 2389 Evening Twilight F .15 1092 Slumber Song, Op.101,No.6 D .20 391 Balm for the Veary C .30 3892 I'm Going Far Away C .15 6606 Anilante,0p.47 F .20 4053 On the Plains, Op.360,No.8 A Min. .20 8113 llobgoblin,0p.228,No.10 n Min. .i5 2626 llornin Son . Op.140,No.2 F lllunnurgingliíoolgOpi-ÍD, Nn.5 G 2o 2545 Sweet Bens Gavotte G .25 5001 In the ll ammock C .25 2784 Chiming Bells C .35 5688 Little Courtiers C .35 5090 Dolly's Funeral, Op.39,No.5 C Min. .15 4225 Rustic Danca C .25 3846 The Oriole's Lullaby C .30 5452 Studies Studentshqelected Primary SÉUdÍGmBlLI. .80 3555 Easy and ProgressiveSturlies, Op.1Ji5l, Bk. l. .75 700 Easy Studies without 0ctaves, Op.70.Bk. l. .40 686 Primary 5tudies. Op.176,Bk. l. .60 1030 20 Short Exercises for the Equz lTrain. ing of Both Hands,0p.191 .80 4248 Selected scurms, su. rziwonng) .90 Lt (L _ . i . L Mirage/ w) $1.00 3345 PianisCs School of Etudes, Vol. I. .75
  7. 7. STANDARD GRADED COURSE GRADE I The Start To a. heginner absolutely new to the keybon rd and staff, take it. The accent after the bar is very slight. The touches must be plenty of time upon this first exercise. Teach first the positimof made with the hammer action nf the finger-shut at first with- the hsnd upon the keys-, then the names of' the keys under the out rnising them at all high from the keysu half inch pre - five fingers; and then the staff places correspondingeach hand pai-story to making the tone is suiflcient. by itself. At first nmit the nrounting; hut come back later and do M. M.4|=60-7^2 f' T É ' : j: "J ? Lena à 4* à à i ; L i . .di BÍÇL; _ a 1 g ¡ 1 i -9- 5 I 5 In No.2 the rhythmic priuciple becomes more importuntBegin pupil should have observed that the melody in the firsttwo meus. by teaching the positions and staff places as before. if neces- ures formsapattermwhich is repented in the later measures, saryçthen learn the first two measureanby playing it three mm.7 and 8 being the conclusion of the whole. An idea thus re- times through in successiomcountingthe time; nextthe 3rd and posted in pattern sequence is called a*'motivo": because it is the 4th measures in the same Way; then mm. 5 and 6.By this time the moving idea. which led the Composer to write the piece. M. M. J=so-72 ZT 1 1 2 9 n. _ 1,. . f É Eísía tus à . à g a 4 a -9- 5 5 5 , =, In No.8 there is also a motive which is several times repented; equal the next lurgenThe curved line underthe notes in the first find out how many and whether exactly repeated or with slight measure is called o Slur; it indicntes connection hetweenthptones, differences. Teuch the qunrter note, the pulse note. Also the table but it does not imply any disconnection from the next tone. of the whole note, hell' notes and qusrter noteszhow many ofeach 2 “x0 5 slursfPhe leading mntive (nnlloccurs with one ending in m.2 and with u different ending in m.4. One ending impliesiito beeontinued? M. M. a'=69 Positionmfinger actionmnd note values the same ss previously'. EQ ln No.4,the idea conshts ol' two measuresms indicated by the l the other closes the ideiLWhich seems to you the closing idea ? 1176-3!
  8. 8. 6 gain the subject; the final answer is the closing ph rziso, mm.7, 8. ln m.4 : md m.8 the last half is silentçthe half-rest takes its place. The rest is a signof rhythmicsilenceThe playing will be better if the hands are exercised separately before playing-together. ln No. .'› a more pleasing melody occurs. It consists of four phrasesmach of two measures. The first is like a subjecusume» thing; to talk abont; the second mm.3.4, is like a predicate, that which we say about the subjecLThe third phrase_ mm. 5,6,is zi- . iLMJzs/ L m 2 _ #79 _. _' . ., , r" m* - 4 In N0.6,the principal motive is that of the first measure. Tliis figure occurs unchanged twice, mm. | and õçit occurs changed twice inmm. 2 and 6. The second phrase, mm.3,4 last at the tonic or key-tone. l1.lI. J=60-8O , makes : in incomplete predicateún mm.7. 8,the predicate is complete. The difference lies in nrriving nt à Í Further exercise upon the five-finger positions already' employed. M. M.. '=so Further development of fluency in the five-finger position. For this purpose each figure (the design of four tones) should be memorized nndrepeated several times; then twu designs in successiomseveral times over. In short, make exercises of it. nLnLJ= s4 Ai 2 , i1 0 i *l See caution in regard to securing finger actiomin the Introduction to this work. iLnLJ=3o 3 5 This melody is constructed upon a systemutic plan; see if _you study it out. Try also to secure theexpressiui¡ marked; i.e. ,the tone is supposedto get stronger as the angxle uvidevismnd to get softer as the angle approaches a point. M. M.J= s4 1176-31
  9. 9. 7 Here we have a three-pulse measure, each pulse represented by a quarter note, half note for two pulsesmnd dotted hnlfforthree pulsos. Triple measure gives rise to very pleasing rhythms which are more floating and elastic than those based upon 201- 4. It is the rhythm of many fascinating dancesmf which the wnltz is perhaps the greatest favorite. M. M. J= . -so 1 fim* i"5 _T3 ri? ?? à 5 ln No.12 the motive consists of two measures, as the ear will etc. ) the last tone ofone measure is repoated to begin the next. perceive when the tones are played. This figure occurs twice only. The Editor prefers a slight hand touch for the repentingtonelnd Mm.5 and 6 are again a single motive or idea, and the ideaisrepeat- not to insist upon a pure finger touchmrhich is very dífficultinthil ed a degree lower in mm.7.8. and again in mm.9, lO. Then; theend- place and would never be used by a good player. ing or closing motive, mm. ll, 12. In the second figure(mm. 5,6 eo: : Lg In No. 13 the melody of the right hand begins to be different from that of the left. but as yet merely repenting the same tone. The repeat- ed tones are best played with a very slight hand motiomhut the second tone must be carefully connected to the next ensuing. NLM. $60-30 : TTÍÉÍÍÊJÍÚEÊ The repeated tones are all played by a hand touch but the fingerlegato is preserved between the last tone and the new one which follow¡ That is, the three C75 in m. l are played with a hand movement, but the last is held legato to the D beginning m.2. So also the Din m. ? is connected legato to its Successor E, and so on. M. M.J= eo-ao f / .. / - / _ lf the left hand part is begun with the second measure and compared with that of the righnbeginning in m. 'l. it will be seen that the left h und plays precisely the same melody, one measure lotenuntil the close is arbitrnrily reached in m. 8. M. M. J=60-92 GURLITT < i The same principle of construction prevails in No. l6.The right hand idea imm. l and 2l is precisely repeated by the left. one measure latenand soon all the way through. This manner of constructinga second voice like the first at a later moment is called "Im itation" or “Vanonic ImitationWmd is in constant use in the higher kinds of music. It conduces to independence of hands. M. M.. '=<so- 92 ma- ai'
  10. 10. 8 ln Nu›. l7 the right hand is active and plays the melodywthe left hand merely puts in a few tones for accompemíment. These long tones should be produced in such a way as to sing through their required duratiomand not to be lost to the earjust after they have been sound- ed. The ear should watch this. M. nàeo-so ln No. i8 the left hand has melody in an active way, whílethe right plays long tonesTheSe should be made to sing as long as required. M. M. .Leo-so ln No. i9 the activity ofthe hands interchanges, upon a principle of'“give and take? Whichever hand has the moving voice should play a little more forcibly. M. M. Leo-so “ afãi 3/ 19. 1 Í i 3 1 Th B ll “ 6 8 b The idea here is that of two bellvringers who answer each other as they play ¡ipon the chimes/ Phe tones need to be rather brígh . u, nd vihratingJike clear bells. The initials 0.0. at the end of the piece mean that the first part is to be played : ig: iin. closingat›thewnrdT/ nê' (finish). Follow the fíngering of the five-finger scale from C. . 1.. I. J=e0-so 'lfg _r _ ln Nofll the two hands are more independent and each has its own individuallty. DLBIJLSO-SO
  11. 11. 9 ln N02? we arrive : :Whalf-pulse motion" for the first t i m e. spry. The eighth note differs from the quarter in having: wh nt The r-nsiest manuer of' formingan idea of this new effect will is called a“flag”at the end of the stemzthis flag muy he “N13- be lo play the five-finger scale up und back in half notespount- pendent and for one note only, as we see very often in songs; or ing' two to each; then in quarter uotes. countíng one to each; and several notes may be connected together by the "flagíl 35 her** finally in eighth notes _just twice as fasncounting the pulses in various ways. at the same rate as before/ File half pulse motion is light and il. il. J=60-92 A study in fluency and the independqnce ofthe hands. M. M. J=6o-92 The First Violet of Spring lt was Plato, who many years ago remarked that when we had older player gives the accompaniment. The prieipal playe r or no words to music, it was very difficult to make out what it another may sing the words also, and in this way bring out the really meant. There are people today who hold this opinion still, idea in all its perfectiomThe idea is to play the melody in surh although to a musimwizin the music tells its story as directly and away as to°^almost speak the words? as people. say. as fully us words can. ln this case we have the melody while an M. M. J = so l > > > > > _à Vio-letsblue, violetsbright. Pupil So at last a-wakefromsleep, Happymappy blueeyes peep. l P* / íví% : u U ¡JíHuÉÍ-L 'fear her í “l The long tones in the right hand : tre to be sustained softly but with a somewhat full quality of tone. Moderate M. M. J : so-oe
  12. 12. H) 1. I y r 1* 1 rat A altz A vhurming p¡ cce for »xhibitinn purpus ; .~, '1 hn, rvpmtfcd l')7~'. .~ ol th: : HlHÍIYly wiíh sligh' urm motion. T0 get the proper elasiícity 1nd sw-ing ofthe nmvemengnfter Iaarnirug i0 ("unafnnllguvhon change. th», cnnntíng M Twmnna to evwh méasvzrmor fo Four. This! change , gh-m th». ¡ncntul groupingtlpon which th». prnpar rhythm demands. SCHMO LL à Allegro 3l. !1.J=60-92 A Study in Fluenc Poco 3 Tha. tow-s in the ñrst motive of this piecm' n1m.1,3,5 etc. ) are slightly díscunnantad. A slíghf hand mofion with avery slight ÂFin_ gar stanvnbo Will hr: sufficient. Allegretto 315.151. ul: 60-92 1176_ a¡
  13. 13. H Mary and the Baby A domestic scene ln which pleasant things are said on both sides. The hands carry on a kind of dialogue. The moving voice is to sound out. distlnctly. M. M.J=108 (VTN/ ní/ *í 29 ' 'ni "" ? E-'-E I_-z= íí-z-j_-l A Study in Fluency ' A melody written in the shortest variety of measure, a two. pulse measure. We count two and accent upon “anel” When the accents fall so near they are made less promínent; otherwise they break up the flow of the thought. The qua-rter note is the unit, and the eighths are half pulsos, as before. M. Mkd= 76-84-108 r ; àqí1tjí 12:1:: nítnuz: lm 11 n Iínl- -2-22-222_= __z2-_-2) _-Z _Z um: 1- -n--ín--It--J à1:jnm u: : 2-1 n1- 30 m-/ mIí-'Z-Édl à íííeztnmlmníííí-ííl líííí-m Imlíííílííím Additional practice upon positions already som ewhat familiar. Take the oncasion to improve the tone-qualíty o' theleft hand me]- ody by making it speak out like a right hand. Especially must this be the case where the two hands answer each other re spon- eivelv as in mm.9to H. In m.8 we have a“'hole Rest? a rest equal to a whole note. ní. M.J= * 3
  14. 14. 12. At. this point the F Clef is introduced, as required for writing bass voices. The staff' with F Clef is employed whenever the left half of the keyboard is to be med. It places F, next below middle C, on the 4th line. Teach the Clef line F, then the three C's. Tl1en exercise the pupil in calling the names of the notes of the scale here written. BASS CLEF 32 “í me um. .- r : rim *xa-ré “i *Wa eli: C Better begin this exercise by playing the left hand part from*íts own xiotes. After finding ou? which nor: : hegínsqhen gn on m play the exercise in correct cimmrather slowly, as an exercise in reading the bass notes. Later, both hands together. M. M. J: eso-so 5 í 2 1 2 3 “EEE ea r i The bass tones softly but sustained; the right hand tones distinct and expressiva vithout being at all heavy. M. M. J=134 Further exercise in reading from the bass staff. hI. lI. J=84-g44 3 l - -'-, /_l. I,-I. Ííí 35 Exercise for reading from the bass staff. Begin with the left hand alone. Then add the right hand. Try und make the increase of tone indicated by the diverging linesmnd the diminísh of tone, signified by the converging lines. iuLLeo-iog To be reed at sight, both hands together. MJLJ: 60-1100 4 5 37 1176_ eu
  15. 15. 13 Further exercises for iudepeudeuce of the hands. The long-tones should he sounded _just enough more fnrcihly thuu the short tones to pm. luug them during their intended duratiou. 31.31. . Lao-mo _4 'l s_ ~ a '- em g = é; 49 , = ' a Br¡ Jú. - n- : :I- DJÉVÍ - -í Â 7 I 1 513g 13534 The melody singingly, but not loud; the moving voice ( the eighths) not so strong but cvenly and connectedly. M. M. J=96 M. M.J=1o4 A practical exercise in the tie. The long tone Í the halfwit-h an eighth note tied to it) should be heard singing quite through its time in such a way that the next tone grows out of' the tied tone. Be quite sure to hold down_ the key its full vulue, and connect the next tnnellc- gntolto the tied tone. 31.311: a4 1176-31
  16. 16. 1/4 Five finger scalus in changing positions. The trick is to be ready in the new position¡ at the moment when the hand should be-g-in its melody upon this position. Hence move the hand as soon as it is through with its old position. . l. .l. oi=60-80 fi" ln explaining the bass clef, it will be well for thedeacher to draw a full staff, treble and bass , and make the pupil see how they together form a single great staff of eleven lines, with “middle C"in the middle. A pleusing melody, in which many tied notes occur, with steady motion nf quarter : lotes in the hassflhserive that it is quite the same whether the three-pulse tone here represented by a half note splieed out with a tied quarter, is written iu this way or simply as a dotted half. The tie is here used to lead to care in the reading. M. i~i. J=144 Five finger exercises. each one to be played many times, until it goes fluently. ln playing these be careful to preserve the proper pose ot' the hand, the Fingers curved and especially the nail joints not collapsmg, or fall ing in. . l. M.al=60-84
  17. 17. 15 Vesper Hymn This melody should be played in a. quiet manner and brought out with a singing tone, t-he accompanim ent subnrdinated throughout . Note the extended hand position. Andante MM. d. : 56- 63 Wh0'l1 Buy My Roses? This piece is a. little more difficult than the ones beformowing to the extensions and contractions of hand to gain new positions, where the melody leads. lt will be observed that where a melody tone is repeated, a different finger plays the second tone. All pianists muke this change in rapid playing, because it makes the repetitions surer. i See mm.4,6,etc. ) Tempo di Valse M. M. J: 72 -92 Gaily the Troubadour Strikes His Guitar The right hand must he ready for the octave extension in m4, two measures occurs in the key of F; nt b) this same melody oc . and deliver the high G with a firm and telling touch, and yet curs one degree higher in G; and at c) it occurs sig-aiii in A mi- connect it with the lower G. The natural on F in m.8 is not re. nor. Play it a. little more forcibly each time. At th». end let the ally necessary: but is useful to a good player. At a) a melody of left hand retard. A119 ma non tro a o M. M,J= 72-92 47 . a me- ai'
  18. 18. 16 March of the Little Sagas Ajolly little march iuovement. lt is to be played sturdily, with strong; uccentuatiun ofthc melodyThe left hand part may lm lreatednsustudy iu chord playing. lt must not be played too heawily. ivloderato ALM. J: 116 Melody “SHADES OF EVENING GATHER ROUND US” A Nocturne by SchumanmArr. for this work. In this beautiful piece of evening musicmhe pupil has the melody to play, which he should try to muke as Smooth and as song-like as possible. The other plziyer Supplies the pleasing accompaniment , which adds so much to the effect of the whole. 'ss I i' al ~i u
  19. 19. 17 A Holiday EXcursion ln this piece the same figure is many times repeated, and al- the second fingenthe first again on the dotted hulühutthis is not- ways with the same finger-sat change being made for the dotted necessarv. When it begins to pl ny ensilyychnngn the count ? o half note which ends the motivedmzic Ivould seem to require a two (one heat to “JICh measure) und Ivnrk up to the second tem. similar treatment of the left handnnlaying the second G with po. This is the desired rhythm. “*°“'f= /“l°, 'i;7* n F ' = É A Song of Oontentment The melody very songJike and connecterLThe eighth notes al- be helpful to practice the scale of F ( see scules at close of so quiet and even. In the second line the left hand has the mel_ the book) until its path is familiar and the B flat can he re_ ody which must slightly preponderate over the eighth notes of membered when due. the right hand. Preparutory to undertaking this piece it would l Moderate ll¡. ll1.0: 72 i 51 Note the key signature before playing / egvz/ o 5 5 4 i 3 5 5 4 3 5 J i . .l l d al a p r 'L p. c. 3 P . eu r e: - z i x 2 3 2 ~ 5 The Runaway A study in fast and even playing'. Practice euch figure until it goes easily. Half the first measurmhalf the Cid; the 5th mover and over; the 6th m. the same. Finally, to pla-y the whole without once trípping or stumbling. This is what is desired. M. M.J=60-92 v l _ _ Í
  20. 20. 18 The Plaidy Triplets Among the exercises which are most easy to teachmleasing to careful to effect : :perfect legato between the close ofone triplet practice and useful to the beginnenare the easy triplet forms of and the beginning of the next. (3). Give the left hand its turn. also Plaidy. Practice them in the mnnners following: (lLAlways with cnrrying out all the different fingerings. They may also be trans- one hand alone. (2). Carry out each ñngering in turn, being very posed into other keys. Playing Leap-Frog In this playful chord-study the music runs in phrases of four measures; learnit in that way, since each four measures complete an idea. Ultimately it should be played quite fast, very clear and sure. Also with staccato qualitymouching the keys lightly and quickly with the fingenpoints. Allegretto M. M. J= l0O to J. : ea 3 __ZÂííZ-2_É- . › . . Swinging and Singing The repeated note in the following composition¡ can just as well be played with the same fingenusing a hand motion. The speed should ultimately be rather fast, and the rhythm as if we counted in measures of12-8,i. e.countfonneach measure being a beat. ll. ltl. J.=60 _ .
  21. 21. 19 A March of the Soldiers A favorite march by a. great writenhere so divided between two players as to make each individual part eusy. while the musicis quite the same as the great master wrote iLThe pupil should study hotvh parts, the Primo and also the Secondmthe letter being* particularly useful as a reading exercise from the bass clef, _ R. SCHUMANN Deciso . 1.1w1.J=1oo l A_ : 2 ° Secondo * 7 í Study inã Minor Mode Preparatory to this plaintive little song in minor mode it might be well to play the scale of A minor a fewtimes, iu order to make t he positions easier. The melody well sustainedmccompuniment quiet. Andante ! MLMJ :120 1176 _ a¡
  22. 22. Sing, Robin, Sing! Prepl1r: lt0r_' to playing this bright little song in the key oi' F, it will be useful first to play the scaleçthen to study the left hand posit- ions care-, fully~, there are but few of them and the best way to get a comprehensive idea of them is to play them as chords, m. l. m.3, '11 y l2,1.'i,15. Then it will be eusy to carry the accompeniment without slighting the melody. Allegretto M. M. J : so SPAULDING 5 4 2 2 4. ã a j Ê É rob-imsing a song for me. -O- p 'Ó' _ 2 Ã 7 o 4 . g ¡ 4 3' 5 3 2 1 elf' _w à - I g _ r¡ . , e e. TE l loveyourmer -ry dy_ Good cheer it seems to 4" "' 'Ó' 'P' 'P' . ' *O-r O . . O O a j? i l , I' . f . ã 4 1 2 4 ñ ¡ 2 4 ¡ 2 1 3 1 s¡ e d? morning, when it's calm and still, You sit up - on my win - dow sill, f- -Q- «I- -Q- . -O- f' vnkeme by your É' rob › in Copyright 1906 by Theo. Prerser British Copyright secured Waltz for Grand - Pa In No.59 the melody ls in the buss, which must therefore have the true melodia quulitymr intensity/ FMS is not the same thing: as greater volume or force, but rather intensity, in the sense of meaning it more. Every tone of the melody is meant- like sword especial- ly : xdressed to oneçwhereas theaccompaniment is merely e psssenger, a friend, a distant relative of the melody. Moderate M M J=80-92 GURmTT : Wa í/ brrxsa poco nmrcn/ r) sort 3 1a É to
  23. 23. Minuet of the Graces The following Minuet contains much of musical interest. In order to do it WelLtake the movement at a moderate rute, study the finger- ing rzircfullygnurl the accidenta-ls which indicate a temporary modulation into related keys. When the way in which the melody goes i s thnroughly k nowu and the fingeriug has been mastered, it is not difficult to produce a good musical effect with this Minuet. Allegro moderato M. M. J= s4 LOESCHHORN @ÇÊ 'ri t». Íi(). t: -O- i* i > Ó $- (if : i5 › l r à l i _ I o 1 2 1 -l~ É' 3 1 i 4 1 z. 'O' 1 . 5 5 5 5 2 . Study 1n Broken Chords Ta he practiced in the following different waysüalltight ha n d laying between chordsHel Both hands together playing the chords playing the chords, all the notes togethenthe chords following at all together, six notes in one solid chord in each measuredfllfinnl- the rate of one a second. (b) Right hand playing the broken chords ly, play as written. The object of these different methods of prac - : is writtembut not delaying for the other hand-dci Left hand play- tice is to give the hands a better facility in these formswhichoccupy ing its chords; (d) Left hand playing the broken chords, but notde- so large a. place in all music in the key of C. M. traLso-ue ~rl a) 1176- : u
  24. 24. 22 First Piece of the Star Performer In this waltz the left hand is the star performei-, haxring the melody, which must be mellow and pervasive and not stiff. The accompaniment lightmnd be very careful that the hand is taken up promptly from the last quarter note in the measureOwingto the preoccupation of the player with the left hand, there is a tendency to leave the right hand holding the key after the time has expired. GURLITT Moderate M. M.›J. =5s-72 1 ' , iii 4 _. __ 3a- A 2 ° . s * , __ -twl- A Study in Syncopation An easy manner of arriving at the exact time values in this exercise is to count six. Then later what we want is the feeling of syn- copationms we have lt when we count four. Each quarter in the right huud part begins upon a half beat and continues past the pulse. Syncopation means cutting into the natural accent of the measuremrdisarranging it, as in this instance, where the right plays wilfully and not in accord with the left hand. Moderate M. M. J : 84 WOHLFAHRT
  25. 25. 23 . A sqtudy 111 Heavy Chords piece are to be played rather massivsly, but also the running notes ol' the left hand are to he made rather ponder- ous. The chords are played with arm touchws also the repeated quarters in the second period, in the bsss. The dot and slur over the queirters indicate that the tones should be índividualized Not only the chords in this , made rather weíghty. > A11 Ode to Harmony The chords in this piece are to be carefully voieed, so that all tones of the chord are nearly equal in power, but the melody tone slightly brought _l › . . _ : m,í 8 . .í 9:. . 3 zwmí . '42 u. .- ; the melody herois soprano and must be mude to singzPlay the chords with arm touch. A in the right hand is not loud = 60 XI_- Tí_- 1.4_- É _- I É - m 22-_- 1?_ _- t Eí-í am m I ouLln m.6 be careful that the Adagío / ,IIIFÍIEE _í í The Excurswn A very pleasing composition for exhibition purposes . To this end it will be necessary to study it very corefully, mastering in particular n11 those LOE S CHHOR N , each of which must be learned perfectly. ss in mm.4,7,8- J= s0-92 Allegro M. M. digressions which it makes momentarily out of the key, 1176- 31
  26. 26. t# 2 The Fox and Geese (A Scale Study) lnasmuch us all lhe hríllízint running work iupizuio music is founded upon scziles or chords. it is necessary to devote a good deal of time to mastcriug these kn-_vhuard tracks thoroughly. At the same time this brilliant running work is s pleasure in and of itsell'. l-lcnce lhe use ol this and several latvr studies. Allegretlu con moto M. .I. d=72-1l2 Study of Scales and Chords Intermingled The running work free, even and sure. The chords firmmusicaland especially the long' tones well sustained. The chords marked with dots over them are simply individualized. Arm touch is suffioient, finger elustic being unnecessary. The soprano voice should slightly preponderate. Allegretto um. J: 72 -nos 1176-31
  27. 27. IL : n J oyous Pastimes The running work light and pcarly, The quartel' notes of the melody fulleizanl the accented tone properly rcsoheil into the nexttonc, díminueudo. 3 Í In a Hlll 1 7 No.70 muy he tahei) as a study in even running notes or as a study in speed. The hand must be quiet, the tones connected, and the movement n ›t too rapid. The main difficulty is to extend the fingers and begin the new measure vithont any perccptihle break between that and the one before. Allegretto . I. .I. 1:78 ? li 1 3 3 l _ jim: : p , :O Q à: ;L J ¡ , 7 e - › - _h h I o . - h l › *D* el? ixàívb __, ,7 &J; à gJ L1 “x3 3 70 ll _ -« _ Study fOl' Inde endent Fmgers The tiwl ¡Iotns : we sounded but once, hut the key ls held down en- tngethernThe form at hlinpplies the saum principlc to the thuml) , tirnly' tlzz-oug-l¡ the exercise. Practice at first with each hand alone , which holds while the other fingers Inove. lie veuy Cuichll llul to bear to pet l vorrect position and an easy movement of' the active fingers. down hard on the keys, because to do this inevitahly stiffens thowrist Lato! play both hands together. The same fingers ou lmll¡ hands play m-ÍÍÍÍÍÍI ÍÍ "Í Í-VÊXÉÉ Í "I "Í É¡ "I
  28. 28. 26 A Lovely Floweret A valuable study in reading the higher staff positions in the left the group/ Phe words "dal segno" mean “from the sign", and denota hanrLThe movement goes on in half pulsos, each hand alternately thnt when you reach that point you go back to the sign and play Take care that the second tone of the group of three which occurs through from theremlosing at the word “Fine”. so often in the right hanthhas the accent, and not the first tone of Grazioeo M. M. J :84 a 5 . Ring Around a Rosy. A Play Time A very pleasing story in which the strangest occurrences are memíuned in the second part ( line 2). 'I'o be played _jollily and with spirit, Allegretto : xI. :u. J.=76 73 1176-31
  29. 29. 27 A Summer Holiday The two chords in the second und fonrth measures, and elsewhere in this study, must be so managed that their relation to the rhythm ic idea oi' the right hand will he brought out. The full phrase includes three beats of the second measure; the right hand has "one": the left hand puts in “two"and “three Í' Hence the touch should he rather clear and vital. LOESCHHORN Allegro ›i. _1.J= so.1o4 f_ _iííftTí 1m' l 221 E . l i 3 1 4 . .a 3 ru-uu- I _n _I _n - . -~-~-_r~----_f: -I--- '- A Pleasant Story and the Pranks Afterwards In the first two lines of this little poem in tones. the narration is rather quiet; just at the end, however, things qnicken np und there is a 'Jery lively time in the Inst line. »vhich must also be repeated. The first part a bit sentimentally; the second part rollícking. AJ-IERZOG Allegro moderato M. M. d=88-116 ? aí-T 1:. Z : s 4 : :P1 2 1176-31
  30. 30. 28 A Lively Dance ( For Two) The prinlo par¡ in this dnet will require quite u hit of practice before the ! VIU hands will play these scale pussnges smuothly enonp-l¡ ; and fast enuu h for the effect. The sixtcenths should not he heuvv but li 'ht and tri in '. E p . P- PP E Allegro M. M. a. - HU 1 O > 76 l p . Pllpll ” 'Eurh hand one octave higher S? ” > r Ô > 4 Teacher Extension Exercises ln the five finger forms here followingmhe hand extends between the fourth note and the fifthqind in this wny : nscends the keyboard at the rule ui' one key for each time through the form; each Ineusure of the music being the same figure repv-nted, ln iconling down ; l contruc - tion takes plnce between the meusuresThe idea isto make the running work very smooth, even and certain. . l. .l ai: 80-160 &í; A _Ai 77 1023 32 1 324234
  31. 31. 29 T0 be played iu a quiet, song-like mnnner. Be sure that the eigzhth notes have : L sofhyet full melodia quality. Andantino ›1.. i. .'"= m4 1 i 1 4 4 'i f'. p h: nd touch) f¡ › a * * '_#O . _ _ _V A Jolly Galme Quirk, spiritedJively. Keep the movement up to its indicated spucdÀ/ urk ou! uny position thut truuhles yuu 'md then ¡ze! it into its pluve so that nobody ivuuld dream thnl i1 is difficult to do. Vivacisus M. M. J . = 58 -69
  32. 32. SPINDLER 30 o o Pic -NIC Dance Finger staccato and legato contrnsted. The bass with a very light hand touch. ition The reste in the first line must be scrupulously observed. Care must be taken that the pupil realízes the rhythm as going ou during the rests, no less than during the tones themselves. In order to assist this feeling. after the piece has been studied, require the connting to he in the lar - ge¡- rhythm, counting four, one to each measure. Thus each line ot' the music will eonsist of two of these “ccllective"measures. Five-Finger Forms in the Gr Pos l. “É m _. . _m_ T . .._ a_ u_ nl_ Il. u E. m s_ W r . m ”. -=. i5 1 . m m n_ . A M_ . _,.25 C 1a CZ qu: M
  33. 33. 31 A beautiful Slumber songmi which the longer tones must sing out softly and fully, while the eíghths of the accompaniment carry ou the rhythm. Be sure and hold out the tied note in the left hand part, but it is not necessary to accent it. . The different chords positions and the simply and siwcessíon of positions in the second line will require considerable practice independently of the right. hand. Vcry sweelly, reposefully. ' Arr. from SV" 'FMANN Allegretto M . I J. : 60 Progress March 1 w R . .. E m E S n. i5. nyE uuM . an. eem mao . ..uh na. f. Mam mm m. .. n “kh . o um um mn ei . ali na mm C5 um e nn e. .. wu %e on ! A i. e un v0 . mu uu . mn . mm nz um mv. .MH . w md . ..u um. k . um hu 001 »L3 mu sm 2 ap M &HHL : nw i4. um v. .. . um M m» w at m 5 um. . ww M mm. PW . mw na. M l. . . um à. m H 8 M
  34. 34. Jzw 'V -§ , Í Tí» MAJOR SCALES AND CHORDS. Cr Inajur. 5 5 . [fig/ tt lia/ ui: Fourth finger ou Seventh of the scnle. H [VLE l' scans' C' D' E'G'A' Mai" or 5mm! ” : Left lia/ ul' Fourth finger-on second of' the scale DSCVEZDIÇIZZ &Jlínàí-r L: 'e 14 _ . _ , _ _ « x . _ _ _ _ _. . y lÍWg/ II Iluml- Fuurthfingeron A3 orBo. RULE II' sndleb B' 14g' cgJnaülhcbxaubldtk key” “bem nulo"" Mmm' Ilmfl lia/ ul: Fourth finger on F3 ar GB. F# nugllor. _J ; _ _Àknlajpç 13 . i , irig/ tt liam/ .- Fourth fingeroi¡ B5. 'Left lia/ ni: Fourth finger on four oftlie . vcalL-, cxcept l", whiçh comes under Rule l. FmaJtgn i O . xLALE lll: Scales Alglílxlílgl? , lllaj--r or Minor. MINOR SCALEb AND CHORDS. E Ininor. §H= '"I¡. ';IÍÊÍ t' AJ 1 ' ~ Lumnwr* I 2 3 2 I 3 . Cgllllnllr' 2 'g 2 Gllnunor. 2 1 3 5 1 ' 1 3 ~ u] 2 2 . ' . ' «c» o ' _ ' _ v** u O a 6- ' 4 2 412 A 4 2 1 12 12 ;5 ã 1W'"i".9ar' ' 2 3 x. 1 BÍHIIÍIIOP¡ 2 1* a 3 ~; 1 3 Fnúnom z 3 à 3 14
  35. 35. i SUPPLEMENT TO STANDARD GRADED COURSE OF STUDIES, VOL. I. Price 25 f Tarantella. A study in clear and distinct playing, which is at the same time quick. All the right hand notes are melody, by reason of which care must be taken not to slight the last note of each group, nor to accent the first of each group too much and give the effect of two melodic tonesin a measure. It will improve this to practice it staccato as well as legato. But in playing it the legato musçt be observed. Louis Brandt, Op.25.N9 ll. AHegroJvLM. J. : 160 ; gflli E u O Z-'É 5:1': Í 'â-'II . -x v», .__. ._. .L. . . . . . y . 11.37.33 ' __É__Z__1 ÍÀJÀYÉD _. _!rs. lu. ==ll 'IFE É ' ZíÉÂ'íÉ vx' A - V v n ! Eli _ e _. __ t. ..
  36. 36. V* School Room March. To be played in a strongbright manner, the scales, so as to be clear and satisfactory, and in good rhythmy/ ithoutdisturbing the march movement of the right hand part, 11m¡ , M.M, ':ioo 4 5 4 a 4 1 n kk 2 l_ 2 a _ 1 2 5 2 i 2 ' a 2. f? o as» D ' 7 , _. - ' , _. _a A Broken Chord Form in o Major and A Minor. lf the hand is fullygrowmre uire it to remain quiet during the entire group of seven notes; if small, a slight movement sideways must be a lowed, the wrist moving so that the thumb extends about a Seventh instead of a full octave. The wrist must not rise and fall, but move to the left and to the right in the same horizontal plane. Be ciareful to raise the fifth fin er high preparatory t_o making the touch when it follows the fourthuneanwhile take care that the legato is per ectly preserved as indicated by the little slurs connecting the two notes. Play slowÍly at first, and after doubling the speed, return again to the slow practice, but let ít be softly and with a delicate singing tone, and not mere empty finger xvork. Wma” b- -. ~-- b. . . _nuí4nrnn 1 . rm _ ; _ c r-Lrgur-ÇUÇU-iií- _ . [31 Í. à IIC- --ÍIÍ
  37. 37. Study of Continuous Runs. iii Observe the following cautions: Connect each scale with the next as indicated by the slurs; takethe chords rather firmly so that they will sound out the entire measure, for which purpose they should be held their full time. After this study can be played easily, it will be advisable to practice the runs with finger staccato, but with very quiet hand. Mr. Biehl also advises practicing in groups of fourtones legato and four tones staccato in alternation, taking care that the difference between the legato and staccato is well marked. _1I0de7'afo. ltl_lI. o'. -i6o ED. BIEHL.0¡1.7. i V The running work is to be very sprightly, in the left hand as well as in the right. The chords a little staccato and the upper tone broughtout in the right hand as melody. There is also a sort of melody at the top of the left hand chords. . VU(ÍPI'(lÍ0.ll. ltl. l:9() i P! 'rima-lu -a a. : "í 1.12:. : . í P! ! “mamã '- u. :
  38. 38. av Easy Study in Velocity. Five- finger positions and the scale of C for both hands. Make an exercise of each two measures until it can be played several times without mistakes; then combine four measures; then eight measuresmontinuing the practice until the part selected can be carried through several times without mistakes. Then the whole. Better learn it by heart. T0 improve the Sparkle of the runs, practice it occasionally with Staccato touches(fim gn', the fíngers moving very little_) The staccato is to be continued only sc long as necessary for brighteníng the effect. Finally again legato, as marked, with staccato tones at the ends of phrases before rests. Allegro nzoderafoxultl. c : mo Broken Chords, “lnterlookíngl” In this study in broken chords, the two hands must co-operate in such a way that the broken chords sound exactly as íf with one hand. The change of hands must not be perceptible to the car. The first touch at the beginning of each beat is a hand touch. To prepare the fingers to do this, play the chords withtwo hands, as if written to be played all together (two counts to each measure. ) Having ascertained the position on the key-board, then break them as written. Staccato practice will be useful after a while to make the tones more even and clearer. WMM¡ rlm1.M. lt. J: - 14110 eâaao l 542. Jennies First Rondo. A pleasant and cheerful rondo, not fast but very amiable and fine-tempered. Al/ egreI/ UJLLI. à : 132 u'. .4. JIUZAHT. I' É' ÉTÉÉÚ' l :5ãâã= =:= â=! _:_! l 1~__-I: _ . -.
  39. 39. Study in Thirds for Each Hand. v ln this study in thirds, the first point is to secure a precise action of the fingers, which should be raised high preparatory to making the touch, while the previous fingers are still firmly holdingtheir keys. Later, when precision has been secured, try to make the upper tone a little louder than the lower, so that the ef- fect is more melodic'. A singing tone is wanted and not a fast passage action. Rapidity will come much later. , l_ _ 5 . AIIeg7o. AI. n1Í-ÃIZ° 7 &A; The Kaleidosoope. A single melodic figure is taken as a text and turned over in one chord after another. To be played quickly, dístinctly and cheerfu ly. Allegro moderato; M. M. 132 “E 5 311mm. l l I i l i " . mana-I › . .aI= =âm II -Iú_: ¡ 10. A Reminisoence of “Don Juan? A pleasant waltz, the principal idea of which is taken from the serenade which Don juan sings in Mozart's opera of the same name. JIoderatoJLM. ci-raz . , J' ¡NO/ m- v, a . .. null IG _au-E -m--F- Il l_ a
  40. 40. Yi J acquelin Waltz. A study in light melodious and pleasant playing . The left hand part to be Crisp, somewhat staccato, and the right hand part melodious and smooth', the tempo rather quick. The half notes in the treble must be taken a little more forcibly than the short notes, in order that the tone may hold out better. KIM/ G. ModeratoJLIu. J : 138 / - 4_ I 3 3 f: /xa The Chase. A study in imitation, in which the left hand is asked to repeat agiven passage as fast and exactly as effectively as the right. . a' , Vivaeentmr, J. - 12s meu", A Begmnmg of Veloo1ty. The runs to be fluent and uninterruptemexcept at the rests or long notes. The runs also to be melodi- ous, and not mere passage tones without character. ÉÍÍJÍÁÍVÍ'. Allegronuau. J = us
  41. 41. Preparatory Study in Velocity. vii Observe the rhythm carefully. Do not play fast at first. Neglect expression until the piece can be play- ed through at least three times in succession without mistakes. Do not practice it loud, but mezzo, simply. Later you can work up the crescendos and diminuendos. 1 o_ 1a " E12. Allegro mmlertzto_: l. l1.c:1o4 5 o v Ap Kill! ” í-T ía i/ ñ-T 1 31 1 3 * *a u 15. nf as; A Study in quick changes ofposítions, to be carried out in strict time. At first slowly, but later quitefast Play the lôths in measure, slightly marking the third and giving the measure accent in its proper place . ln consequence of the rapidíty with which this study is to be played, no changes in position of the wrists are to be undertaken. Carry the hand in the usual five-finger position. Neither is it necessary to make a pos- itive staccato upon the last tone. The measure accent, together with the quick taking up of the hand will be staccato enough. Allegretlo. M.nl. J.: s4 5 f' LECOUPPEWY' r t); :: ra-Isnqírvjx. :.; *-xnrn: ísívzà__bna_zàza n ulágzzs; tcà= gàíír: _.r~xuíííux #r-: ¡I_: $_ " «» j. .. ç 1-- Í . Izíít 131:' '
  42. 42. viii an'. fran KAIVDIZOÚK. ---g¡= === :r' = ==--= _= 5 4 -. === ":: -:_”: =:~: :-: -= . ... _ . .raeãrzrãr. .'": rzi! '~"-'- Z lll-'i-. Íz . =I"Í'--I2 J. E. DUVEIHVOY. V 7' 7 . _ _ _ . _ _ _ _ _ _ _ . __ _ . l a _s > _. _ __ _. _ _. _ _ _. _ _ u _ _ _ __ _ _ E¡ 3 i um m7 p 7 ll @Itú-É in Chords. This study should bevplayed in two ways, with arm and with wrist stroke. It may be varied by playing twc or three eighths, or four sixteenths to each quarter, staccato. _. __ a _n n. l m _. _ A Study ln the second part the order is reversed. The chords are connected and the right hand is the subordinate part. The piece is capable of the closest study. Keep up the practice until ease and equality are obtained, and if possible commit to memory. 'e-Wí" = . refl0.1I. ltl. ukl:138 E! 4 5 6' HoderatoJLMJ : ias Alle This graceful little study is most excellent for practice in the weak portion of the hand. The melo- dy in the first part must be kept distinct from the accompanying chords which are to be executed in a rather Staccato manner_