Complete School of 00 Phil

*^5frÛ^^*££^£j2|[ ,- ,

&Gomplete

SCHOOLS TEGHNICFOR THE PIANOFORTE

ISIDOR

PHIbIPP

THEODORE PRESSERPHILADELPHIA

HAROLD B. LEE LIBRARY

8RIGHAM YOUNG UNIVERSITY

PROVO. UTAH

Ti

\11;

/•N.

/

/

completeSchool of Technic

FOR THE PIANOFORTE

INCLUDINGFLEXIBILITY AND INDEPENDENCESCALES IN ALL FORMSEXTENSIONARPEGGIOS IN ALL FORMSDOUBLE NOTESOCTAVES AND CHORDSTRILLS, TREMOLO. GLISSANDO

BY

ISIDOR PHILIPP

PRICE, $2.00

D

PUBLISHED BY

THEO. PRESSER CO., PHILADELPHIA1712 CHESTNUT STREET

Printed in U. S. A.

Copyright 1908, by THEO. PRESSER CC

British Copyright Secured

HAROLD B. LFP LIBRARYBRK j UNIVERSITY

PROW, UTAH

Practice slowly, without any stiffness, with intelligence and reflection. Practice with a perfectly free arm

and supple hands. Practice with different rhythms, different movements, different attacks and different nuances.

Practice with patience—and always with patience.

(Signed)

/ ( AU^Lû^h

INTRODUCTION.Isidor Philipp is now so well known in pianistic

circles that even a brief account of his musical career

is scarcely necessary. For many years he has

ranked as one of the leading pianists of Paris.

A distinguished graduate of the National Conser-

vatory in Paris, he is now professor of the pianoforte

in that famous institution. In the United States

he is most widely known as a writer of extraordinary

and valuable technical works.

Naturally, M. Philipp takes the viewpoint of all

noted thinkers on the subject of piano playing:

there can be no satisfying interpretation of the great

works until the performer is so fully a master of

technic that his mind can freely assert itself in tone-

production, and the musical rendering of the phrase,

the sentence, the entire piece. The character of

his exercises and methods of practising clearly indi-

cates his recognition of this fact. These exercises

are especially remarkable for their exposition of the

vital essentials of modern technic. The skill he has

displayed in eliminating useless matter, in turning

old material practically into new, and in inventing

novel methods for attaining technical perfection,

is little short of marvelous.

The hardest task which the student encounters

is the successful combining of a strong finger stroke

with easy accentuation and free velocity. Practising

with extreme slowness and force will undoubtedly

create finger strength, and velocity of a certain kind

can be acquired by persistent rapid playing up and

down the keyboard. But to attain through these

two methods alone, strength, accent, and well-

controlled velocity, is a slow and too often a disas-

trously discouraging undertaking. Many young

players after such limited preparation find their

technic quite inadequate in performance, especially

in the execution of lengthy passage-work, their

efforts too frequently ending in a muscular stiffness

that paralyzes all finger activity.

Without abandoning the best features of older

methods, ceaseless experiments have led M. Philipp

to believe more and more fully in certain rhythmic

practice schemes. These schemes, starting from

universally accepted forms of accentuation, he has

so ingeniously enlarged, formulated, and applied,

that they may well be regarded as his own. Throughtheir use, finger activity and resistance are speedily

established and the first steps in velocity almost

imperceptibly taken. Stress being alternately thrown

upon different fingers and different notes of a passage,

the touch is equalized and weak spots are strengthened.

The student, by means of the rapidly alternating

strong and light strokes, acquires command over

instantaneous muscular contraction and relaxation,

and a consequent ease and endurance which enable

him in a comparatively short time to play long andbrilliant passages effectively, without stiffness or

fatigue.

The present volume constitutes an epitome of M.

Philipp 's broad pedagogic experience. In it will

be found concise, yet varied, material for complete

technical development. While the exercises are to

be practised freely after conventional methods,

the author urges persistent use o: the rhythmic

schemes, the application of which is shown in the

illustrations preceding the exercises in velocity.

Comparative beginners will best adhere to a close

finger movement and a piano or mezzo-forte touch,

until correct hand positions and movements are well

understood and the fingers show sufficient resisting

power. Good judgment must be used in increasing

the height of the finger movement and the force of the

stroke, both of which add greatly to the danger of

muscular stiffness.

The hand position recommended is as follows:

the wrist is held loose and rather low, the knuckles

are rounded up, the fingers are full curved, striking

on their tips. The nails should be kept short. Thetwo joints of the thumb are bent outward, so that it

is held well apart from the second finger.

The tempi should range from M. M. = 50 for

single notes (of whatever denomination) to M. M.= 120 for groups of four notes, and M. M. = 80

for groups of six. The slowest tempo is largely to be

employed with a strong touch, reinforced by con-

siderable arm pressure, for strengthening purposes.

The quicker tempi once mastered, a sure foundation

for velocity has been laid, and it becomes a relatively

easy matter afterward to attain much greater speed.

When practising the exercises in quick tempi, it

will be found advantageous to pause frequently

on various beats and measures, in order to increase

one's accuracy of performance and to regain the

feeling of repose which with the inexperienced is

more or less disturbed when velocity is attempted.

For instance, the pause may first be made on every

fourth or sixth note of a passage, then on every

eighth or twelfth, and so on, gradually making the

pauses less frequent until the entire passage can

easily be played continuously with evenness and

certainty, and with the requisite degree of strength

or delicacy of accentuation.

M. Philipp particularly requests that this workshould be played throughout with careful regard

for rhythm, and for the nuances changing from ff

to pp, passing through the degrees of /, mp, and p,

and that attention should be given to variety of

touch

—

staccato, portamento, and legato.

Then observe the three great principles:

Work with a variety of finger movement and a

varied rhythm.

Work with varied nuances.

Work with different touches.

It need scarcely be added that, carrying out MPhilipp's ideas, the rhythmic system is to be used

freely in the preparatory practice of ail passages

occurring in etudes and piano pieces.

T. P. CURRIER.

To Mr. T. P. Currier

SCHOOL OF TECHMCThe following exercises are addressed to students of medium

attainments. Those commencing the study of them are supposed

already to have acquired the principles of piano technic, — ele-

mentary preparation at least for this is not a part of the plan

of our work.

It is highly important to practice with the two hands separ -

ately as well as together, employing an active and vigorous

finger stroke, and not accelerating the tempo until each exer-

cise is well mastered. Above all it is important steadily to endeav-

or to acquire a round and full tone without producing musoular stiff-

ness . The exercises practiced in various degrees of tone from ffto pp., will be found excellent for this purpose.

Those who are ambitious for the power to triumph over the dif-

ficulties which are found in each page of the masters , will espec-

ially devote themselves to the study of mechanism and of tone.

A good mechanism , a beautifid tone, do not constitute talent, but

they contribute powerfully to it.

FLEXIBILITY AND INDEPENDENCE OF THE FINGERS

IMolto lento m.m.J = 50-80

§s ^m.&LL

MLULL!

imm iLLTn§Q

|Eti

I ÊF£f5FfI]i> .14

•g»[irtLf[£TSF :

5 4 5 4

4 3 4 3

p

-*¥-J- , «3" " i

j .

3 2 3 2

Ifele £

2 1 2 1

Through all keys.

Lento

71 jmimim nj}smmi4***$** gjigiism

( BraBIBrllr Hr£k F* ntia Wirm^t ^

Lento

11

iiPtsPtsP\

tiPiiPkr\n n J n n J n J Jl

f f pj rfl} rp

..IrPirPirP^Sm P-jfP-trPh.^rpir^

^Pti^trPtr1

urirrtr ws -s-

*fc fl I S j^ J . J*] ,

rtr^r

»t ttruf'ti PlsPlsPls\PkP^% s

In all keys, without change of rhythm.

MM J = 50-80:L 5

*^gfta? fttfss ntim ja/ai J3jA2

s xx XE 31 XE IE

12 ./<»/>^ sXX Xfl X3: XX

te*urj t£i£?r m^r Lirurr QPW

8

EXERCISES IN VELOCITY

The following twenty-nine exercises are to be played separately, also with both hands together, one octave apart. The

transposition into all keys should be done very gradually, a new key being attempted only after each preceding one is well

learned. Practice legato, long and short staccato, evenly, without accent, also with the following rhythms. These rhythms are

applied to each exercise regardless of the value of the notes,- whether eighths, sixteenths or thirty- seconds.

i '• J t± L HAccent transferred to weak beats

1 2 3 4 * 2 1 2

j J? JJ> & W Ji I „J) J> I ji I Jj 'M M Ji J) Ji I iri Jj) JSJT*J) I J;,I Jji II ^LJ^^

4 5 4

J-nj"]iîJj?Jj' JÛ)i

r.^. 12 3 4 5 4 3 2 1

£ PS/.A. 5

3 2 1 a 3

nij ijiîjuiJ^JUJû^^Ftffl l mrcifl

i -o^SF ..JTTlrJ J d

|o^ xn £d

tJ -©-#-T 3 2 1 2 3 T \\* 4^¥ **

J^J^*

rp-i, rTT1

-o^-

,4-—--4 -§

9

$1 2 3 4 5 4 3 2

4»f 3 2 1 2 3 f

SiSXT- O^ 3CE H^

# ii> f^ ^#£ipi 3 2 1

*?*

12 3 4

tf-O-

*=(£ °=F*

4-o

iTfli^jjj? -o- jjl gs ^ 1

5 #e12 4 3

5 4 2 3

tJ •©~#L* 2 3 1 2 4 3 XT O- iS m ffio »

#a ^H» I0> * 2 3 i 2 4 3

12 4 3

-O^

4 2 3

*=£

i—n—]—^"

I°f p r r

J77J I.f7T3 J J J J h.-TOjjjJ i

a ^ -o-

12 4 3 5 4 2 3 1 2 4 3A 12 4 3 ^ 43 3 *

4 2 3 *-O^ IXUS ccD'Hcr '

rf - »ri»frpi» i«r.i»rrPri»ri°fr^fpr * P m m m m ft m$> "^£f[ii;i o

cu^^^ i

12 4 8 *7"2 3jlrrcjulr

'

k--r&.

h fL i*— 3 2_4 5_J 1 4

^PHMH

5a»m 3*

*m

m m •-Iv#-

=*? 2 1 3 4 4O*

-•* -^J-^j wL*J -^# ii a• m ^~ £

10

8 5J3-35V*3 2 12 3? 'O JCC ^

*ff "fr p. «r r i°rrp—rjJJ i"rr*—

n

Jj i

° *UTl rrJJ i r *G*Tl—

i

g> LLLTrDJ I LlCT j' L£lT J

'

J J J 'f-JJ Ji '

JL,—---=-£ --3J-— *-«^r- r^-v—^#f^--n^#-4^13

—

-<i*''j —â—<,_ ^l*—^^^rw^—r—r-°rf—^

—

_o_ ^ XE o-^Tl rP I

12 3 4 5 4 3 2 1234 5^

l jffJ?njwaecq. i

Jffcur -^ ttefigBTAcrctfrCttr i

^ Ht/tttf^^

11

11

^-^3-TO3j3^j333|

g£raQ.

££e;Kerl^fgaêsrXffiârXgTgfi^^^

i^^^p^g^gipg^^^î^jî

f) 12 3 2

12^« 2 3 4 54345

1234

isfffiwas'tt

5 4 3 2

12

3 4 5 3 4 5

2 3 4 2 3 412 3 12 3

i3 JjLnjj^jj:j^ i J^rrrc£rc£r icrrcfrrir.

V T"s 1 3 2 1 Ui—1 '"^

# ^*

3 S 28 3 2 4 3** 4 3 5 4

** #Sf£

43434 3 i 3 2 12 3 2 3 2

5 4 3 4 3 4 3 4 3 2

13

f\ m • • P ^213231^321f

f • * * m » * f * p r*—• m T

m 7 * f 7 T r 7 1j r T r * f\7fff 90 w

^^ 23453 4 3g234 5

M.M, J =100

5 4 3 2

19 <ft« tJJ£"TT~ 549- 2 3 4

"ZT r f ' r i'

!

rni-rTr]liTn

14

41 1 £H H

Allegro m.m. J =ioo

22# "^

n

Moderato e forte

24^

% £lit 1 li±B * 1 2 lAft 2

123451 543214543214

wdfL as^m m i

M.M. «h = 120

12343543

15

16

EXERCISES BASED UPON THE CHROMATIC SCALE

Legatissimo e lento m.m. J = 60-120

gg j|g l r_ffifii^yl[^^^

i*W JTO *

*»

saa/tirir

*

v:

JttJJtt^r'fipp

^

Legatissimo e poco allegro m.m. J = 60-120

17

j| r^ffr^ffr fî^P^f^ »yy r^r^

mmpiipiii

1-^jAJPJyj^J^j^JiiJ^J J5B

18

Moderato m.m.J = ioo

323412 3 2 4 1

Wm3 7 3*32T2^TtC3 * 3 2

4 1 44 ,31

^r^rrMrrMr?3 4

^^—^^4 8 I «

—

1 2 3^-^'

'

''

i ll'' * * "i

* *

'*

" i

Allegro m.m.J7J = 160

Q 12 1 2

4#

I^^f^âto'cefcitl

3 1-H: 3—4 3— g4~T~

3 4 3

IWfflF^WlVivo M.M.J = 132 -144VIVO M.M.d = 132 -144

. 5 1 * ? 4 3i 2 ?, £ *«s A

vs 23 2

gglTTO r'f^1 ia 34 rrr, MJJ

1 2

t?#

3 * 5 1345PS

-3 1—33 a i

rîî2 1 ,4 3,12

-G-

M. M.J.= 50-80 „ 1 • 2 4 1 3

1a24l3l33

|B

*' <t

] I1

4 13 2 3 1

3^3 1TT 4 ; l-

3 , ; 2 * 1 a 1 * 2142 -1-4 3 1 3

># 1 li 28, II 4 2 3 l, 3 4

24131 H '"T5^"^ 1

* 3 4 3 4 3 131314 3131

4 18 2 43 13 2 4 1 3 2

19

MISCELLANEOUS EXERCISESFor Strengthening the Fourth and Fifth fingers, and Increasing Hand Extension

M.M.A14412* 35434

M.M.J = 1002 l 2 3 5 4 2j

M.M.J = 1604 5 4 5 4 2 a 9. 3 * 34 3 2

±9. 4 • 4 5 * 2

3 iPj SS3g=t>^7 2 * 2 * 2 7 '

\\4 2 a 2

x 2 4"^

3

OLr 1 J»j^ ^H s sijwja^

2 3 4 i_5

^^tp^rii^ryrrrir^rrrfYr^rrrpr'T'irrrnir^rrrf i

20

M.M.Al443 2 3 4 3 14 5 3

With a close, well-sustained touch.

Lento

Lento13 2 4 5 3 4 2

8 1 *23 52 4 3 4

1Âllegro M.M. Jz92

1 2 5 12

M.M.JU44 ,15453 2 1 1 14 3 2 1 11 5 4 3 2 1 1

211 4 3 2 1 1

M.M.JV1202 3 4 3 2 3 4 5

nm^ j !,^j^

1 4 8 4 1 1 52 2 3

M.M.J=116A 3 2 3

12Pfa 3

i 23 1235 23 2 4

9 ^0

m2 4 h,

j»iîÎ

A3 4 5 1 2 4 5

£S 3 S —SBSBSB5Sa__^ ?

1 f»« n3 2 3 2 2 2

22

SCALESBefore proceeding- with the scale studies, careful attention

to the preparatory exercises below is advised. Here, the hand

position and the thumb movements also are extremely im -

portant.

While practicing the preparatory exercises, the hands point

in and the wrists are rounded out and about level. The knuck-

les are raised, and the fingers full-curved. The thumb tips

are bent inward. When passing under, the movement comesequally from the ball of the thumb and its joints. The ball

moves well toward the palm as the thumb goes under, andis kept loose and flexible. As the second finger is played,

the thumb moves instantly under, its tip covering the next

note it is to strike. As the thumb strikes, the hand glides

quickly sidewise across the thumb , and the second, third, andfourth fingers immediately cover the next notes they are to

play. They also retain their full curve, without straightening,

or moving in a high semi-circle over the keys. The second fin-

ger requires especial watching, as it is the most likely to

straighten. In moving along the keyboard the thumb does the

60-120

work of shifting the hand from position to position, the fin-

gers thereby being relieved from the necessity of reaching and

consequently straightening. A finger playing a white key, pre-

ceeding one which is about to play a black key, (as from E to

F# ) strike close to the black, and the following finger strikes

on the end of the black. In and out movements on the keys are

thus avoided. In accomplishing these positions and move -

ments, a close, light touch, without accents or rhythms, is at

first most helpful. High finger movements are more safely

employed later.

To insure a quiet hand and a good legato, the fingers often

sustain their notes until the thumb passes under and strikes

its note, the hand remaining in its inward, pointing position .

Turning the hand from the wrist , first in, then out, seriously

affects the evenness of the scale touch.

These positions and movements, and the rhythms of pagelS

are applied to the following scale exercises, and to general

scale practice.

PreparatoryExercises

m m 4$mm

(&PP- ™fijvTHUMB AND SCALE

4 5

1 2 3 i | 4 1 1

W^JJITJ

23

SCALES, NORMAL FINGERING

,|4 *\>J*

3 ii i

.

PS 4 1 4

1

3,*» I

2 3

24

25

i

EXERCISE FOR PASSING THUMB UNDER, ON BLACK KEYSSustain at times, the notes preceding thumb notes.

1 * J t ? I i t

#? 4 1 1 ?

-3~* 5 1^1

4 3 J 4 1 4 J |

fc *=? *W1 f i i f i 4 f 111*!*45451321 2 3 4 f * 52 3 5 1 2 1 3 1 3 4 5^ 21g ^

ta $ 3^3 p J *J * ?*=* a * a F5*

4 5

mw ^m ?m P5

$ iJlJjt^3 Hi i 1

#|S an- $ 1

1 1J1J73 t'^n1 1JjjJU^ *^n 1 .^JT3 t^^T]

1 JpT^

A ^jsPP'^n ::* S3 JippP #JTT11 #Jlpp7P >JTjl

1

IP«=*

-H# £ m tet & i

i tj

26

MAJOR AND HARMONIC MINOR SCALES WITH FINGERING OF SCALE OF C .

45 4543

1bcEcr^li

2 3

a k*t

5^5 A, 5 - * 3 2

iJ^tSEJlaêg

hi

*gfiarf

fc

v k feet

jijiJ^**"1

ggil!^ 4ei

t5r»W#r¥r*ti^ g§ Ub^ ^g |W

1 3 1 3 1

leg 1f-'r.f^ffl]i

1 3 1 3J

"ctofiJW tfB

^»rfrjrJ^Jjp

i^JJ^rrr-5 _.U» i»f

13 1 3

#*- ii,

*#*

fr^ftfr

P*#

i ^r^^rr#r¥Y^g-Sctj Jeti

37

kW^MjJ^ g:

mM&^rVsV

îTTr^^PiPiiii

**r*&tobtfrfr

fifet

P,5 4u 5

jtftf i'ffr^J^S

^ <Mto#»4e

^Tf#f^^

l1 i##

41 3 i » i

t*t**l

^TTj i jlfl ^§fel

3 1

4—8-m13 ,,i,:, 1 » gi

M Wk

'1W^ "*"

|#Jiffi^

•W* 3W

th»*1»fl

1§1 3

flJtjJ xJfl*

K43 1

tefe^^^^^2*

puns^M^ '

jtf^^fct

tî^rdttr

p*

isa i u- p hrrgg£

**TO

wk

33?PB

*—H>»» Pr -^ ^¥ 3gp^$»^Jjfflgpg^flJJJtiJJtoi|

1 3 1 3

5fr# Is «srW w*

«tfm 1 .3

ggjg

.epiiil**#« Jfl f

£5brrtfff i^r^

1 3

.

JftJl|J «UW

I

i§ySi

:'irrr^r rrr i rCrrrgS

wi 3 —

mrm *

xn

28

RHYTHMIC EXERCISETranspose into various keys.

M.M.J =50-80. J = 60-100

6

M.M. «n=50-80. «L 60-100(after G. Mathias)

3 4

l i ^ûjiH^fL i

ULif iffl I ,'ffl f r r'f f

1

rrj

29

\JL i-rr rrhrsffrr] 1p^ r

-j III r-pn^pa j—a 1

i iiiifc>: r>— r-

—

L.Lf r r n-

J. J >- JjjjjJJ j J3 4 5 3 * •"

r P f m 0m-m0 m ? m

3 •*

3 *'_ _— —

p

_

v ^ b —h l i rr i\A—a—u=j r r r r r'

ii IlJL/l/ U=j

igrf^/^^J P i m ?=**^

1 2 ' 2 13

U f rfrrt

yfF3 : 2« Ifc-^ J ffl&E = ttfcfrc.crffrr.gfl

* 3 1 ^- 12321 5 *3« P ( p » * * ,

s " 3 m m M

3 5 4 , „ 3

3 , 2 * 2 1 3*#-ns-KMf r m m—5— ,# rP_—

pur m^^^S .a 3 1

erf rr rrr^rrrr 1 r P , lpf Pf5 4

F-0-,mr0- u- m-0 m m m; \Lu u^/^rk^88^ - - - *"' -JJ BBS

—

L— «_ K_p_K

1 1 2 3 4 5

^

3 3 2 1

3 3 i o

3

3

CF

^4 4 3 2 1 1^^ ?

5

3X

30

SCALES WITH THE NORMAL FINGERINGTo be Extended through Two and Three Octaves

GENERAL TEMPI: M.M. ^=50-80 J = 60 - 132

Separately and together : With and without the rhythms

Major in similar motion

Scale of CHarmonic Minor in similar motion

5

tt stf iWfrrmrtj&s frffojpjJrafrCtffr

Major in Tenths or Thirds

|

„.^{gggj ">faÛlia. fr

rajnCTJâ^

Major in Sixths Harmonic Minor in Sixths

Major in contrary motion Harmonic Minor in contrary motion

1 3 1 -^Stf 3 i*#^P^#»i 3 14 J 3

T*fri -

1 41 - 1 454 13 ^8g 1 j» #- ^1 1 4 1-31 454 13 gg^ 1

Melodic Minor in similar motion4 1 . , 4 1,4

4 1 3 * V g f-U LJi 4

31

Scale of GMajor in similar motion Harmonic Minor in similar motion

4*».,4

Major in Tenths or Thirds4 13 .1 2^ 2 4

I 3

Harmonic Minor in Tenths or Thirds1 3 . i2hi, *

± i 3 n 3i -: i iii m &P+-m*i p~ L4 1 3mmmgz ^'.yj

Ql3 i 3 * # iii

3 ^^ —

Major in Sixths

$m&&m$ ^fpTarmonic Minor in Sixths

^"^TOm 3tfgfrtf^jjr% Jb Ik-JbiiMPi^Major in contrary motion Harmonic Minor in contrary motion

i4JL,4

Melodic Minor in similar motion

4 5a J 4

^n^grf err"T rr r rc^rr^;^

32

Scale of D

Major in similar motion4 «>4

Harmonic Minor in similar motion, 4 l,i 4mm

^^n%â; 1}k ar:ftfi)rtafetetf

Major in Tenths or Thirds Harmonic Minor in Tenths or Thirds1 2J*2 d

v^mtj3j3|f


ktf rfff.f^.gyfr l ih frff* *. ftf fffc|agi

Major in contrary motion454

Harmonic Minor in contrary motion4 I„4

Melodic Minor in similar motion4 £l 4

3 i^htltnteb

5 4 -- itfttrf „

4^n4 3.. -.

33

Scale of AMajor in similar motion Harmonic Minor in similar motion

Major in Tenths or Thirds*1»

4 1»1»-Harmonic Minor in Tenths or Thirds

5* ^ * * 1 4w£ 3 * 3 1 4 1 « Vii4

Major in Sixths

41,4 4 j>4 . . J 4mmm?m Harmonic Minor in Sixths4 1 .4 5,4

Major in contrary motion

41 ~ . 4 £4m^mmmmmHarmonic Minor in contrary motion

i

., a 1 8 1 ^11 3 1 4 5 A «« L5—,* *


4 1

afoytt.tfft'i

34

Scale of EMajor in similar motion Harmonic Minor in similar motion

4 5 4

J-llVllftffl

hhggWjgg F^f'^fflr^tfM^

Major in Tenths or Thirds Harmonic Minor in Tenths or Thirds

3 1 3 <£"------—— —

, !

4 1 ^m 1 * 1 i« I 1 4 lite -14 1

Major in Sixths

3 1

45 4Harmonic Minor in Sixths

4 5 4

13i- 41

3i#£#fSta

3 !#- 14 13 * 4i 4l Bl *** fill 3 J ii I* 13 1 ** *i si BîiiftSj 3

Major in contrary motion4l4

Harmonic Minor in contrary motion3 u4lil

4

3 1


, 131 iiatetef^r- * 3

35


Scale of B

Harmonic Minor in similar motion

Major in Tenths or Thirds4I2J214

Harmonic Minor in Tenths or Thirds


4 1 . u*Ii* 141 3 r 1 3 1


18Harmonic Minor in contrary motion

4 5 4 •" * 4 ,4^ 7*5, 48 1 _ m ^ m .18 Fff*» -13 1 ^ 1 3 1


4 1 .4 I, 4

uiittsfttf^^

36

Scale Of F Sharp (Enharmonic G flat)


fe8 "

fl

Harmonic Minor in similar motioni - 9 A . ..

34 4 11*13 14 _ 1 3 14 2 flU


3 4 3 «p ;jjja^geamHarmonic Minor in Tenths or Thirds

4 5 4


^f^m

0& fti il-2 4 1 3 *, rFff 3 11*3 14 ^ 13 14 2

Bl. a A a


3


r '

3">

Scale of D flat (Enharmonic C#) C sharp minor

Major in similar motion Harmonic Minor in similar motion

4to»

231

«*=

,14 13 13 2

m isfrn t,^Major in Tenths or Thirds Harmonic Minor in Tenths or Thirds

l

4 5 4


3 4 3i _ . 3 h

m tai tfiam


4ill4ft I , 23 1 _ 4 1 8

*

Harmonic Minor in contrary motion

4 13 13 2

I ! m sb llu^ l'p ugy i'iai j ii i^»igmn^m


4 1

rjrr^tirw.i i13 13 2

38


Scale Of A flat (Enharmonic Git) G sharp minorY^

<\

Harmonic Minor in similar motion34

^^#^J^1^%^Major in Tenths or Thirds

4 1 *^4

ft I J *d

T^fl 3 1* #FFl*l*»i 3 14 1 3 _j,

f


Major in Sixths4 3

Harmonic Minor in Sixths34

,jt 231 31 41 tl ^JLJiJ 1 Vj 4 8*fl

fl. 231 31 ^ 41 » 1 nrl^n.l ^ » *

5S

gg ftftifrWMffaj : 11 lh''Ai

fr afi^jWq'A%Ja


K^^rHiu^mi\n\ss 1 41 3 14 13 1 4 i

if

32

Melodic Minor in similar motion4 3

1 3 13 2

3 i-â^ ?


E flat ^ Jff- *YAAA^^Harmonic Minor in similar motion

39


2 41


3 i* 4i aiiia i 4 +mjz i4 2 /) 1 . ^S 31/41 •*** i4!

-*»

o 454

frBBtffigfflgggîyn jgrf fr ^r raa^r^§5^

-14gga 13 2 3 1 4

Major in Sixths

mj$$Harmonic Minor in Sixths

3 4 1u1Sl*1 4s 1^ m&fFieM^

1 * mP- 1 31 4 i9 ^ Ji 4^ 314-13 1 4 i3 ^ 31 413 Ap*

prj&ffiS?

m w yfligci-rJi

Major in contrary motion^ 3 ,

4 ± -m.- i 4

Harmonic Minor in contrary motion


« A&teP&k*Eff^J- r^

4! 3

1 n 2

40

Scale of B flat

Major in similar motion harmonic Minor in similar motion* 3 . 1 4

Major in Tenths or Thirds4 i2i 4

31


14 iJj 2 /) I , 23L 4 1 3lJ»f fPfy^l J 14 ^

pmm,

314 ^m i * eâ 4 ' "*»- * 1 3 a 1 3 l^.a 13>213 l 4 U-« 13 1 ""f^n 4

1 3 -»»^4 1 31*



4<S 4" 1 * 4

£32

£

mpngfffi

§g^Melodic Minor in similar motion

Scale of F >41

Major in similar motion41

Harmonic Minor in similar motion

3J L 3 14 J 3 14ifflS


341 Si- 41 3 1^13 f4 8 4

j


31 _ A , 31 Lj-21 34 1

Major in Sixths4 1

Harmonic Minor in Sixths4 1

1 4 1 3 1 ^S^ ,

3 i, 3 14 J 3 14

Major in contrary motion3*3

4l

Harmonic Minor in contrary motion4

*£ 1 3 1 ^•rftl^Fff*^. 1


42 THE CHROMATIC SCALEThe chromatic scale cannot be too assiduouslypracticed, being

a great aid in the development of the thumb the second and third

fingers. A. bent thumb and full-curved fingers are essential .

The fingering requiring the third on every black key, up and

down, is best for strong passages in medium tempi. The em-

M.M.J=50-80. J = 60-1323 4

ployment of the second, third and fourth fingers at certain

intervals is of distinct advantage in legato, and in extreme ve

locitv. Practice with and without the rhythms .

I

i m7*3 4 32 4321 i 1 i 4

«$r.--«y|"rT3""2"i 432 1

L 3 1 32. J3 2 ,

4 3

* 3. 2 i

43

To be transposed.

VARIOUS MODELS FOR SCALE PRACTICE

8'4

wiM1jjJ3 p cr%frrcfB f«*LJ - & #-

ETTT

Oferr r

i S3

smrrj-rflei

Sim + ^#g^rJTl^^

r r r1 3

rf r r r r

<?-

J J i J i J J J i

6

<?-

44

SCALES FOR BOTH HANDS ALTERNATELY

PrestoJjggB^flP ;,

(after St. Heller

1

m., it g 1 3 2

.^l gBig

9 12 3 , 5 a 3 P m ^= LLrfff

r.^.

Ih.5 3 n

3 1

wm XX

6^%'j r^> *^gg

5 5

N i'V* - jgg

mp-s

3SPe*

I I

* »^„ 1 Q3-v

45

mm8

&;/ ffy fy*p a 4 sai 4 egfe

1 M"5B ;. 1WÛ& â:

Sfff

9

.^ ^ i iî

10,1

Hz:

'' 9\> 4r^ te

g§ -O- i »#

3 1

3 ii*

gpCftgfl-H

46

11

Mtfl I

4^mm

r.h.r.h.

4 §IS

wm mWWm

2 1

P/./$

/:A.

r+j±

14 3 2S/A

T.rl

FINGER EXTENSION, AND INDEPENDENCE47

In cases where the chords are spanned with difficulty, the

exercises for sometime should be practiced piano,without the

rhythms, and with a close touch. The less the effort made to

hold the chords down and to move the fingers, the more free

{P-mff.)M.M. A 50 -80. J = 60-100

ly the muscles will stretch. The fingers are curved as much

as possible, the knuckles raised, the wrists at times eleva-

ted, at others held low. Transpose.

48

5 4

ra;4^*

smsi g

^B

1 2

***953=

5 4

49

2 5

m £ 3BE W mnrtnr- a^ 8 ^§«*«

CLC

m E^ #« ae? I 3BESi g^QIH 3ffi

mre b

«vJTJbto^j j j « :

HE P J J jHE

MfoS-3EE JBt m

55?§MUy

j

jJ

jJj"' ^rff J»UPi'J% j

HEf^F3

XE

To be transposed VARIOUS EXTENSIONSLento moderatoljt?-^*) 5 ^ 5-

p0g^0

^m

OTCT

51

#JH..M.M.JJJ=126

5

9

^ ^

#-n l

^ff I"— >v

-Mm

fe£i* a m:

j=M.M.J=1444 5*5

^T rrrfrfrf r r ., JfrrTrfffa

>7 5 45 35251525 35 4 5J»

f.*>.¥A¥ji»

*-* m m m m

hwfM a UH >PMffiM3HE

52

EXERCISES ON SHORT ARPEGGIOSAlso with the rhythms #

Right hand two octaves higher. ry

4 3 8 4

1 "ro~a

3--3-^8-

^T 3 44 5

a i^—a- 4 3 84

2 a1 ^^^f5* #

3—1- 3 2 4 35 4

JtjJJ 'j

' 3=£

^fc

2 1 3 24 3

K 12

5s3 2

y *j ,j j ftj j *

'

j— rrri^j^^rrr lu i

j u j »?— r '«^ -<

9' g hJ j

i..»qP#

4 b2 1

\>P0 0-0

tl * f\rts+

#H»

3 42 3

1 2

5I 4 8 4

3 2 43 ^ 5-«—

r

\>r^r r ^ r

1 2

2 13 323

5 4 4 3

^ r^rpl^lW4> BE^ TTjrY-

<*=*=&m

y=^3 p=ff

ttJTJjyj l

1

- iOfym *i

tjT^t

m 2T^=Hm f ^VJ JJJJjfPIK^fiPS k

2g -4—3- 2 3 3 4 *8

*T** 3

P#

8 4 4 3 3 2

2 -^TTi

^—4-

2 r^ 4x=4t4 &

mi

^rw-*-^ ff # 4

I

# Various rhythms tr cih Epcjf

53

L 5i

4

tj : y lip r P a4 5 r1"^-

i,; i ; ^p » ,ji l3 3 2

%

m k

S5i^

4

a3 3 2

2 12 1

12 2 3 2

{**5 4 5

4>

4 »

^dt ,kg ~

\>f f =p=tf SmP ::*

frk1W} *

J i

^"P^JiJJ^ £*JJJ «i J J,-U""!F

^< 2 3 2 3 4 3 4 5

3 ^=—^^3 2 ^2 1

4£IP**?

MJJiP l

ipjjJ l

|

J^l jJi.^g

'J'j^JJJ^l JJLffîJliP

2

J^3rrir i fl? f rjr cjp

2 L^J Jî - # 1 # "r » —

-

*&F\ m*=*$

5 5

'^rter^'fr^^frCxp^l

54

4 3 5 4 3_513 2 (^^ 1 3 2m13 2

»._ -^

s4 *JM4 3 5

|H1isP3 2

::»

4 3 5

¥ v CP

1

SSIIPtt-r ^ v— ~v

th

>*£&

_^ 1te

i

***3

k

ssSi

IPPJSfcdi

-^m^rrr i^r^thr^^ |

tr rftrtnrtif^

^^ Ve i^^^ i -v

90-te

!*-# t3*

3 k

@J*

P3?

P fJ

* &

i,. i?^b

i

Pggg

e^

Bs^«*&

TO I T ^qg*

^ E!8flJHH Ll.

^n.k. Eg

t?#

^^3**

s

t fesra

i?n s$m

f&

i •^

#=&*

fS

^*W

IX

1 2 snjii

3 31 %r%^%^g^^5 A^1?^3 2^32

d fa

5

frJVJJIft»^

55

ArpeggiosThe manner of practicing the preparatory exercises for scale

playing, applies equally to the following exercises for pass -

ing the thumb in arpeggio playing. The fingers generally,

however, maintain a long, instead of a full-curve. It is best

to avoid completely straightening them, as the touch then

becomes weaker, and the tone dull.

In arpeggio velocity, no especial effort is made to sustain

the thumb note until a crossing finger touches its key above

or below. In the longer intervals , the thumb, in fact, often

leaves its note before the next finger strikes, though not

to the extent of causing a break in the evenness or contin-

uity of tone. The mind should be centered upon the sensa-

tion of legato touch and the evenness of the tones.

The rhythms accompanying the exercises in velocity are appli-

cable here . Frequent pauses when practicing in quick tempi , as

suggested in the introduction, are recommended.

Detached groups may also be practiced staccato,-the fin-

gers moving lightly, rather close to the keys, the wrist be-

ing held loose , and the hand vibrating freely, in sympathy

with the finger movement.

PREPARATORY EXERCISES FOR ARPEGGIO PLAYING

Lento1 1

3 18 3 2 4 12 14 2

12 3 11 4 14

ARPEGGIOS5

56 WcnAA

"kMirl

2l 3 213

k*

I^ £

^

s5413

1*"*31

2# 2 Ls < * %1 2«^# 2 fe^2 4

fSr

^»Jf; «a «#'» 0* 8gpss13 2 13 2

-f ociîZt^

i*Jffl itfJ W m^mim ^

sp2 1 i £^ !gp

xn

ffigfl?^'Ug

^-o-

IE

58

jrfj j,rirf.ij^g^

't*th Jfflm

59

*4hiw tinteâpi-O-

u:

jrmm

^ r^ 4 T 35 ^*^

-o-S

-o-

*

feffilfe

tfegusdM^^^Ê

-#

^te^TDîtg^

a^toa*^ 6%^ XE

60

8-

^P?3—

t

5B ^ Sg

jj

!>iH

li^'TfTÎ'

fe i 4

"R

t-J*

4 I I e

I

faf -«—

r

is^-fe

*4 4_

k>U-rjj"T i^

ppts

ti

r - pg 4

'fa *

1 2

1.

fes=m±^PFS*^fca ii>uf f

,'.

61

;Ps^§teb m

f

1 ,*î J Lt3£*j*M

kMMt

5 5

fct = ?

fcv£

£A

i#*

4

i 5

Presto

623— faif/W Jbi

BROKEN CHORDS

#/

These exercises are played in the various ways already sug-

gested for others preceding. Practicing at times with a close

touch, — often overlapping the tones,— increases sureness and

accuracy . This form of arpeggio makes unusual demands upon

the fifth fingers, and is therefore valuable for training them

in strength and agility.

Numbers 9 and 11 of the preparatory exercises are easily

extended into long arpeggios interspersed with double notes.

See examples.

PREPARATORY EXERCISES

1

To be transposed. /4 2 5 -/ mfl

6k^^^&^^Û^^^^

HH

ppW§

No. 9 No.lt

4 *

EXERCISE IN BROKEN CHORDS5 4* . s\

^1 K A* —

I_ #•_ i» 1 4 2 a 4 1 5 f-

' - r^H

,." 'jtf ..i.iblelse2 4

£15 2 3

Ug-gg SS» SR 5 -<4 1 2 14 2 3 5 1 <T2 g

5 132 5 1 4 2

3T5 ^5T3

Hi5*

5 „ . 1115

9- #-a-i-

4 2 5 13 1

fytW^Vljr * 9 4 , 2314e lirf 5 . « 2^5

vp #

4 2 5 1 23

15 2 3 152 4

5142d£geLge[d

(3 TUP*

It, 8 »-

1 32

^zfc

5 2 4a 1 4 2-

5 2 51 4 2 râ

3 2 5 1 5 ^4 2

4 1 w" o *4 a ^"2

534 4^Mftp ;f

5 54 -a 4

2 — —2# 15 2 5

*dz:

JJIMEdV^-•#2 f 2 * 1 2 5251

4 £ *ii 2:E g:^ 2

it***

3252 51325 25 1

lip Hi m 3

5 231

5#o 23«5 1

2 w 1 2 1 T 2

*-«-

1^= # 3 a

4-9-

3i^PH1j3 ruU r Pff** 5 2 4i

£

5 2

is 1 rr^,

j- :

5Tf2 51 4

1 4 2^5

v jr

MfiS5 * 5

IMP

^ 35 2 5-^

65

15 2 5 2 3 1415 2 3

5 . 5

1 4 3J> 2 5 2

Pffl5 >,

1 .=_*._ .-._-.-!2 —

PfiM^W^3 2 2 3 14

*~X

15 2 3

— 2

5 2

2 5

2 4 13^^2 1 4 2

5 2»

5 152 5

hf¥-fffgjg

3 7 1 3132

1 ii

i 3 2 l „ „ i

<] 4-^^4

in

5 25 1 * 5 2

1

fo

- 15

4 1 5

3 15 1

3 1

5 23

,3 2

l'!nM' riTa

iffb 4 2

im^g-5-H^

1 5

5 13 25 * *

^^ffi

*^=^s3 14 2 5 1 3 2

4 2 5 4 2 4

I

m

i

i

66

Double NotesThrough the practice of double notes, evenness of touch

and general technical skill are materially advanced. The

matching of strong fingers against weak, imposes contin-

ual restraint on the one, and extra effort on the other.

After extended double note practice, the results of this

equalizing process are quickly observable in the per -

formance of single, as well as in double note passages.

The hand position remains nearly the same as in scale-

playing. In the execution of double sixths the fingers take

a long curve, and there is more or less unavoidable turn -

ing of the hand in anc* out from the wrist, which should be

M. M

lessened as much as possible.

Practice at first legato, with a close, light touch, with and

without rhythms, increasing in height and strength of fin-

ger stroke as seems advisable.

A free staccato (combining finger and wrist movements]

employed on groups of 4, 6, or 8 notes, (pausing and relax-

ing the muscles between each group) largely facilitates pro-

gress in double note playing. Brilliant passages are more ef-

fectively rendered half-legato. Attention is called to the var -

ious fingerings of the chromatic scale in minor thirds. Trans-

pose at discretion.

Practice also in broken thirds

THIRDS

67

3 4 3 41 2

5 t3 2

5 43 2

3 41 2

31

43 2

31

83

<m. B -> 4 bvi

n^3 tLdti m Lua f ' 2 4 2

23 |

4j36

1 V3

-tM.t-^-^:s.*-^m.

§ * Q 4 3 4S4 5

1 ?1 23232 13 4 3 454543

5

m mis* i> -mmit *~i ft

Pm r.+ -1 j:> 1 > r »• » nw > • ir jr-i ,r-r

J $- ^ mi'W >-Mir ,rr f c

^r

Lento e Legatissimo m. m. J^= 50- so. J = 50 - 100

3 33 4 3 4 5 4

68

5 5 5 ? »

6

f § 4 » a 4 5 § $ .

8 1 ?! 2 ' a ?l i

i f * s *

69

§ ^' IfYaW4 3

34 5 4

Tjinn 3 § 4 s 4 5 42

i3 I 2 I

r ,i?j6 i ,r-r > i .mm i I* -mm*- in:i- i j- iicy mu$t j«/ ^fu J"«r *« nu vn i*-% m*u *»« j-tm Ami !' j- -m k»mf *• ia »>w j.4 !• >>wi j

-

t 3 4

*3 4 §4

8 2

35 i

?1S 4 I

35

Ii

21'* 3

8 4

!/, *»'»T J> T MK AIM, J- -T Jlfct _>- w..< jii • -nsif jiur I?*- ixi- -time jiur jra- *ra- * jbtt jp -r jt^ j

2 1 8 1

3 4 5 4

v.* -ir^ -r :•> -r > -in»- -r:*>

Iff?"3 I 4

IN§4843 2 1 2 ,11 % i

5 43 2

81

42

58

4 8 42 12 S%*

3 4

70

RHYTHMIC EXERCISES ON FIVE NOTES

o

9

11

Slowly

§ fii^li' i W18

s=s ^^5 s17<

*=»

71

'Hxr-ur

72

DOUBLE FOURTHS

5 4 3 23 111S 4 5 4 5

5 1 3 1 3

31

LTfcfcff

73

M. M.J\ J =50-80DOUBLE SIXTHS*

Practice also in broken sixths.

74

2 3 2 31111 4p*?*3*3 2?

M. M. Jj J = 50 - 80

75

1 2 1 | 1

4 5 4 5

76

VARIOUS EXERCISES

1

shffffffftjnTTTÎj

„ -J- —# - * C » F p-g=3

**- P r C r e r r * «rm A^H^- Hj.n LLLf

3 j J3 J i^'jJdJ ^j j ^jujj-n

5 4

j |EL1TE££p £££f

J^T3

fil £0 EJ^^4mr >££; rr pt Ijtp p?1

elf;est4

MAJOR AND HARMONIC MINOR SCALES IN DOUBLE THIRDS(!)

77

C Maj.

&«»£*} 4g.

A Min.

1213121213*3 53434 3

5 33 1

1 2 1 -1 2 3 * 3 I

t ?

354

43 2 3

E Min.:*JTTfiiAf 1

* 5 3 4 ? 2 2 ? 4 3 ,

: _i^—SSS—2sito.— 1 llzza

I i 3 5

3 2 3 1

13?13 5*3 2 3

4 34 5 3 4

B Min. ^fflff^jlil^]^4343_2^ 1 2

2 1 I 34 3

2 1 3 24 3 5 4

A Maj.

2 ? I 42 1 3 2

ff ?rn

F sharpMin.

E Maj.

C sharpMin.

C Min.

B flat

Maj.

G M

F Maj

C Maj.

A Min.

G Maj.

E Min

D Maj

B Min

UtfW#«fUj £ 4

2 14 3

2 3 1

4 5 3 2 1

4 3

4 5 g *

5 (3

)

MAJOR AND HARMONIC MINOR SCALES IN DOUBLE SIXTHS

1 2 1 „5 4 d

80

A Maj.

F sharpMin.

E Maj

C sharpMin.

B Maj

GshM

BMi

F sharpMaj.

EflatMin.

D flat

Maj.

BflatMaj.

GMin.

F Maj

82 CHROMATIC SCALE IN DOUBLE NOTES4 4 5

or l 2 _8

MajorThirds

MinorThirds

1125 3 4 5

2 1125 3 * 5

83

5 3

Fifths

Fourths

8'

Minor Sixths

84

d bi * a

8bJ^dwiJ* » * iii » * * f s 4

: r i,c fe & fc-Htj-ftr rf Ft q

r r t f ft if ffi

42

Diminished Seventhsf

* ° * 5 4L 1 L * L 1

I § I 1 ? 5 4

?!

9

$41

41

51

1

* te

4 5

J i5 41 1

52

10

^W icfrEire

M|i

From the Arm

4 3 4|5 5 5 5

86

Double Notes and Octaves , from the Wrist

In the following' wrist exercises it is necessary to preserve

the full-curved finger position. The hand is moved from the

wrist , and the fingers in use are held fixed while the others

are drawn up, to avoid contact with the keys.

The exercises in double sixths are valuable preparation for

octave playing, especially for small hands. The knuckles of

the fifth fingers are here easily kept firmly rounded up and

strengthened for the heavier task required of them in octaves.

For the adequate execution of octave passages, the bent thumb,

arched knuckles, and strongly resisting fifth fingers are all-

important. In view of the danger of straining the muscles,

practice should be limited to a few minutes at a time. Prac-

ticing frequently in short groups, with restful pauses between,

safeguards from strain, and rapidly increases ones facility as

well. The rhythms are applied as usual.

Various octave exercises, especially those in skips, are also

practiced from the arm , the movement proceeding from the el-

bow with both wrist and fingers remaining fixed. Forte, or for-

tissimo octave passages are generally executed in this manner,

or with a combined movement from the wrist and elbow. With

the former method greater force can be attained, the latter in-

suring greater flexibility and less stiffness.

The legato octave exercises are played with a finger move -

ment reinforced with pressure from the arm sufficient to sus-

tain the tones. The shifting of the fourth and fifth fingers is

made quickly, even in slow practice.

It is advisable, when practicing octaves, to form the habit of

striking white keys close to black keys, and black keys on their

ends. The awkward thrusting of the hands in and out, previous-

ly referred to, is especially detrimental to rapid octave playing .

Broken octaves are played from the fingers in combination

with a slight side twisting movement from the forearm. This

arm movement should be cultivated by practicing at times in

slow tempo with an exaggerated side-twist, keeping the fin-

gers motionless. .

The exercises may be transposed at discretion.

„. . 334554 3.5.4.5r ingerings : 1 " 1 -

. 1 l " 2 ~ 2 2 3 3 4

M.M.*N=60. J = 80^ A L &i i i i +^îl fi 3

£m m ^^ it & \£ \tW

> yjj t.niij7^

*ftt iu

1

DOUBLE SIXTHS, FROM THE WRIST5.435

Fingerings: 1 1 1 " 2

87

51

Jr M* J ' J J- -J—J—J—J—J—sf 1

pj 91 P f

9*

a 6 ^

tf. f. f.f.f.f. f.U

9 a

r39

-|i :!

9 U

F3— 9

=>: :*

-9 J

_a 9

L5 Sp 11

88

'

F ingerings

:

5. 41 1

OCTAVES,FROM THE WRIST(In all the Keys)

#* £ & P-

9- & *

1^s: ^

-9

—

£ 5^ is:-'—!?

in:? ;! .*

I

89

90

91

From the wrist ( for large hands ) very slow.

29 jryj J,

r r f-^£H 3 >L I b ¥EÎ

: - f* #•

* FXE

* 3i I

304Hf^

32

it -Trr^ •Hrî rrrrrrrr i

^ m m • • P "P~~•—

" rrfr.r.r rf ^"^ 9 m 9 m 9 m w m w m w w\_ F

M^bIL"^^* • • » ^

93

Pi t irtjrcrfcfet f

i*y.

U ±\,f [£ *\£bfcufe * te^te t# f *te * gte'ieih.tete e #{§ te te

iag3§£• ~ b. he e

teju tefe * . etete

ggi^ît

iti §3fe

fe

94LEGATO OCTAVES

a- i

54*5 S*4&1 1 * 1 1 J 1 J

f \tPl ttt^^^ ^ ^1 ii ri n4*445 5*4

LINKED OCTAVES 95

2^ft» #r I r if r r Mr '

v^ ^ I*

OCTAVE EXERCISEon Major and Minor Scales

# Also in broken octaves.

96

97

98

Chords

The chord positions given below, vary in difficulty of exe-

cution according to the size of one's hand. Those that are eas-

iest, therefore, may be selected for preliminary practice,grad-

ually attempting the others as muscular extension increases .

The exercises for extension and independence afford perfect

preparation for shaping the hands to chord positions

.

An elevated wrist, with knuckles and joints rounded out

as much as possible are advised at the beginning. This posi-

tion is also most permanently effective for small hands.

Chord repetitions, in accordance with the rhythms appen -

<ied should be made without incurringtoo much stiffness. As

with octaves , care must be taken to avoid muscular strains

by limiting the minutes of practice.

The chords are practiced with and without the pedal. Great

attention should be given to securing a full, rich quality of

tone, for the production of which a correct attack, and con-

stant listening are requisite.

The left hand two octaves lower, employing the following rhythms :

* * * <r m #_ *

/7; /],,*

#ARPEGGIO EXERCISE ON THE PRECEDING CHORDS

ijpr rrir0r0 m IV

* 7!l tVT- Mr—i£-»-ir^f^-^--9~- —0^~7^ ==*•-*-

m-im-

4-

^ramS^fii

f-p

3& Also in broken octaA7es, from high and low wrist.

99

100

(mL

V

$ mWmj^ I

101

u>^MUa

102

BROKEN OCTAVES

1

5 & _

ij.» fW PT3r r,Trfi-f 1 j

''

f=.\

»):4 ——^— JJ

J f—--

T » "P « — \ W a

S * ___

^

if rfpp,r.r rj

i

j ii^ J J J J1 r 1 r LLLU

^4— --m- ^—f ?

-

—

*—»—i—^=

5 =====r c p ^ j j ~i™

pi

sM

45 4 4

4j

#^^Si-0—

1

45 m T~

2 V

r~^

*5

=4

P J

*•

m^:

—

\a1

54

1-0-N54

m

J-

-Vf

54

-w—A0~

£—

k

4

#1

-u64

m •

•

103

\V FF FWuUddpLJJ J j J j

rf,gg=mcikdtQjCP

M ppp

• * -9

5 454

5 55 4 5 5 4

104

Trills

A good trill can be attained only by long-continued practice

in moderate tempi. Too early attempts al rapid trilling tend

to cramp the hands, and to impair free finger repetition.

The rhythms, and a free staccato touch, in addition to the

unaccented legato, are invaluable aids to the development of

trill velocity.

The linked trills, employing both hands, are played with a

close vibrating movement from the wrist. The third fingers of

each hand are projected below the other finger tips, and are

held fixed with the assistance of the thumbs, which are braced

against the inside of the fingers.

The trill tremolo is executed by combining the fingermove-

ment with a vibrating side-twist from the forearm. In chord

tremolo, the finger movement becomes very slight, the execu-

tion proceeding almost entirely from the arm.

Tremolo on a single repeated note is practiced in two ways.

In one, the finger tips strike the key and are instantly with-

drawn one after the other towards the palm. In the other,each

finger strikes the key and quickly makes room for the next

by moving sidei/'ise - not with the inward motion. The tremolo

exercises on single repeated notes with octave extension, arc

particularly effective for thumb training.

1

M.M. J = 50. A 60 -160_5 4

A A A A

j:^ j- ju- * niirm mro-TO-TO

A A A A

3 UJ2UJ2U12JJJ2

A A A A AAA AAAAAAAA

A A A A A A A A

irmrTTi

105

AA AAAAAAAArrp^rp

'Irfrfrrrrrrrf rfab

45452 3 2 3

tJ tPWL^—

8 2121

mten. ten. r

106

4 5 4 512 12

11 2 12 1

m -&- -o-

» 4 3

13

4 5 4 5

/ 4 v p/3T3.TO JJ.

• 4%

1 2

^-i^^-JST? J7T3 J777- —_, jq

•

• -«-\ZA\

f=|

5 *

•

5 4 3 4

107

4 5 4 5

2 3 23

162 12 1

J77?^ /ffi .^7? 3 J773/mim

& rJL

LINKED TRILL

r.h.

§t*fJrWf¥^ JJJJJJJ.17

3

IJl

r =3

l.h.

3g3 3

ION

18*

4r

<tr

a*r

•tr »»»%»%%»%%%»%

ir

m$*r

^*m

3sj3*-

'A

P &v'j<ift

*•- *•• *••

ft*i ^

1434343 231 434343 U< 434

i#* .»»<»»»»»% (î »»»%»%»» ,/t,%%%%%%»»»» k

I <rfr» »»»»%»»»»%»

E 4 B£**—

:iff**

£ * iJ5^£

vmj jU J3 ^ * ±i

19g--^

^ -' "

J£3a* fl ^ %»»»»»%»»»%

1

^y* -w^.v-vw A« »%»»»%»»

5t?# jaj* «/3

£ iSI

»%%%»»»»»%

5 *r*<tr

35

*•- ^P#-

20tf i 4r*

3^HF ssi

p#-

^r

» IHiT &

w

2 I 3 * 24 2434alai ! ? 2 325

TREMOLO 109

a trem.

ntrem.EC

fe

£

trem.

—>I

trem.

£2

3 1

1 5

PPf 1 i^rppp-Fpi ^

4 1

BOtfrTrM1

rTJB i 1 15

trem. trem.it

trem.

4g

S £ a25

§,trem.ELa.

itrem.

20 //*#/

.

8 Elfcn

i

2 4

^

3 5

trem.

m

wC5

1trem.*Va

f

6^w

.

I

SST ^

l2it

t* # I

'4

*=+*

\Aj\At\Aj$ I-_rTr TrfrTrfr f7T7J>^

i

——

^

î i i

y~r~K

f if iff g

110. Repeated Notes

f-p -pp

)

3 8 13 2 1.etc

43 2 1 4321 etc

i Jpl < !_? 1L si F=q m n

? J1 r r

4321*321 etc

4321432 1etc "

. Q 3 3 1'

4; j J '

2 1etc.

3 2 1

k) J J J

3 2 1 e*c.

m » S rf

rf f f ff-f

6

I

4 a a i—

-

4 3 2 1etc.

TT5*

S* 3 8' 4 3 2 1

etc '

£, trt^fffU^^-

m(

-3-^S—

1

etc

#-#

Ill

etc

8

9

2 13 1 213 1etc.

2 15 1 2 15 1

15 1 2 15 12 etc.

=7TtFTT? $ 144 .1

12J

#*=15 12 1 5 12 etc.

¥3mm * m¥ p i>

112

5 4 4 «> i5 4 4 5 4 4

£ 1 j>45 545

1

5 4 5

i ^21 o .

î3: 35

xt

XE

5 4 5 4 5 4 5 4

143

2 1«s 3

I5 54 5 54

5i

i i

fT"3 p r^ttfi^ 1 2 r "i—2"

85 54 5*1 £ i i # it

r# (•-# P P P —n

r

1

^ m —1—;

—

(• J~Hl J"1—

' ~~J~ ~m¥~' »J * • -^

t i2«J l-4l2 ^12 J-12

113

GrlissandoThe No.l ascending scale, glissando, in the right, and the de-

scending scale in the left, are executed with the mil of the thumb,

except the final note which is played with the tip of the fourth

finger. The hand is turned in and over, so that the thumb lies

under the fingers and about parallel with the keyboard. Thethumb nail is thus enabled to slide over the keys without the

fleshy part touching, and the fourth finger is in exact posi -

tion to take the final note.

In descending in the right, and ascending in the left, the

thumb is curled under the hand, which maintains the ordinary

playing position. The second finger overlapping the thumb,

easily takes the last note. When practicing the glissando there

should be as little bearing upon the keys as possible.The ped-

al is held throughout and is raised simultaneously with the

last note.

Exercise No. 2 is played ascending with the nails of the third

and fourth fingers, which are nearly straightened and held firm -

ly together for mutual support. In ascending, the palm is turner;

upward; in descending it is turned down, the fingers beingcurl-

ed under sufficiently to bring the nails of the second and third

in contact with the keys.

114

Exercise for Developing Finger Resistance5 &

4 *

1 WJjW

^j PffirTi

^H

^Mjj\

8—. 8»»> 115

Index

Introduction

Flexibility and Independence of the Fingers

Exercises in Velocity

Exercises Based upon the Chromatic Scale

Miscellaneous Exercises

Scales ....Chromatic Scale.

Various Models for Scale Practice

Scales for Both Hands Alternately

Finger Extension and Independence

Exercises on Short Arpeggios

Arpeggios

Broken Chords

Double Thirds

Double Fourths

Double Sixths

Major and Minor Scales in Double Thirds

Major and Minor Scales in Double Sixths

Chromatic Scales in Double Notes

Double Notes and Octaves from the Wrist

Legato Octaves

Linked Octaves

Chords

Broken Octaves

Trills

Tremolo .

Glissando

.

Exercises for Developing Finger Resistance

Page

. 4

. 5

. 8

. 16

. 19

. 22

. 42

.43

. 44

. 47

. 52

. 55

. 62

. 66

. 72

. 73

. 77

. 79

. 82

. 86

. 94

. 95

. 98

.102

.104

.109

.113

.114

/

'

« //4

PL

fOAxt

i

>

*^

BRIGHAM YOUNG UNIVbHSI Y

Complete School of 00 Phil

Documents