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GRADE I BOOK 7

oCORE

10US5

The University Courseof Music Study

A STANDARD TEXT-WORK

STUDENTS' ABRIDGED EDITION

PREPARED BY THE EDITORIAL STAFF OF THE

INCORPORATE

PUBLISHED BY

THE UNIVERSITY SOCIETYINCORPORATED

NEW YORK

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m. /

A STANDARD TEXT-WORK

PREPARED BY THE EDITORIAL STAFF OF THE

^ationat^mbep-qf^^Jngiit-

EDITORS AND ASSOCIATE EDITORS

Charles Dennee

Thomas Tapper

W. J. BaltzellBernard Boekelman

Moissaye Boguslawski

Felix Borowski

Alfred A. Butler

Edward Collins

Howard Clarke Davis

Henry Purmont Eames

Louis C. Elson

J. Lawrence Erb

Charles Haubiel

Hague Kinsey

George Kruger

J. J. McClellan

Rudolph Ganz

Nicholas deVoreEXECUTrVE EDITOR

Edwin Hughes

Kate S. Chittenden

STUDENT'S ABRIDGED EDITIONintroductory intermediate

DIVISION DIVISION[Grade One] [Grade Two]

Book 1 Book 5 Book I Book 5Book 2 Book 6 Book 2 Book 6Book 3 Book 7 Book 3 Book 7Book 4 Book 8 Book 4 Book 8

juniorgraduate SENIOR GRADUATEDIVISION DIVISION

[Grade Three] [Grade Four]

Book 1 Book 5 Book I Book 5Book 2 Book 6 Book 2 Book 6Book 3 Book 7 Book 3 Book 7Book 4 Book 8 Book 4 Book 8

PUBLISHED BY

THE UNIVERSITY SOCIETYINCORPORATED

NEW YORK

Morton F. Mason

Alexander Pero

Otto W'. G. Pfefferkorn

Roy Lamont Smith

Allen Spencer

Vernon Spencer

Adele Sutor

Donald M. Swarthout

Edith Sanford Tillotson

Edna Pearl VanVoorhis

Hunter Welsh

Guy Bevier Williams

Mortimer Wilson

Francis L. York


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Ulw IMIYERSITY COURSE y^ MUSIC STUDY'

^ INTRODUCTORY DIVISION' GRADE ONE

CONTENTSo/ Book 7

PageThe University Course, Students' Abridged Edition

Chapter XXIV Embellishments __..__-_.. 9XXV The Dominant Seventh Chord ___.-_ 23

XXVI Parallel Thirds ____...... 36XXVII The Dominant Seventh Inversions . . _ _ . 48

Two-Minute Stories from Music HistoryChapter XXIV The Greatest of Pianists .____-- 5

XXV Trying to Force Technic _______ 6XXVI An Italian Boy Who Became a Famous OperaComposer .__^___._.. 7

XXVII The Last of the Three B's _______ 8Additional Compositions for Supplemental or Optional Use

PageMorning Song .__.._ Gurlitt 12Eighth Velocity Study . _ _ . Gurlitt 26Prayer ....____ Mortson 43

PageThe Place I Love _ . _ _ Mendelssohn 60Andante, Op. 36, No. 4 _ _ . dementi 61Happy Go Lucky (four-hand piece) . Behr 61,

INDEX OF COMPOSITIONS

[ReferencesIn parentheses are

to chapter and pagein

complete work; Gradei, if

not otherwiseindicated]

Alphabetically by Tit le s

Page

AAeolian Harp Bertini (xxvii-7) 53Air, Arr. by Beethoven Paisiello (xxvii-17) 58Andante, Op. 36, No. 4 Ci.ementi 61

At the Tea Dance Kohler (xxiv-5) 18

BBrittany Folk Dance Franchescot (xxiv-8) 16

By the Spring, Op. 101, No. 5 Gurlitt (xxvii-15) 52

Chromatic StudySpindler

Country Dance Pauer

DDream, A, Op. 107, No. 21 Reinecke (xxvi-io) 44

Alphabetically by ComposersPage

.Beethoven, Ludwig van

Romance, Op. 143, No. 9 (four-hand piece).. . . (xxv-14) 28

Romance, from Sonatina, G major (2-xxiv-8) 28Sonatina, G major. No. XXXVII (xxv-8) 27

Behr, Franz (Bare)Happy Go Lucky (four-hand piece) 63

Bertini, Henri Jerome (Bare-tee-nee)

Aeolian Harp (xxvii-7) 53

Clementi, MuzioAndante, Op. 36, No. 4 61

(xxvi-ii)38

(xxvii-14) 57 Ehmant, a. (Ay-viant)

Swing Song.. . - . (xxvM-12) 60

Echo, The Reinecke (xxv-io) 32Eighth Velocity Study, Op. 83, No. S.Gurlitt 26Evening Peace, Op. 107, No. 27 Reinecke (xxvi-14) 45

Festal Song, A LeCouppey (xxv-13) 35Copyright 1923, by National Academy of Music

2

Franchescot (Fran-chess-ko)

Brittany Folk Dance (x.\iv-8) 16

Gurlitt, Cornelius (Goor-lit)

By the Spring, Op. loi. No. 5 (xxvii-is) 52Eighth Velocity Study, Op. 83, No. 8 26

Hardy Horseman, The, Op. 117, No. 32 (xxvii-13) 56

Hunting Song, Op. 82, No. 42 (xxx-12) 11

Morning Song I-

Sunshiny Morning, Op. loi. No. 3 (xxiv-io) 19


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UNIVERSITYCOURSE

INDEX ofCOMPOSITIONS

Alphabetically by Tit les

GGa votte Lanciani

HHardy Horseman, The, Op. 117,

No. 32 GURLITT

Hunting Song, Op. 82, No. 42 GuRLiTT

I

I Heard a Brooklet Murmur SchubertIn Solitude MortsonIn the Highlands Wilson

J

Jig, A, Op. 40, No. 13 Mortson

MMelody LiCHNERMorning Song Gurlitt

NNero Strokes His Lyre Mortson

PPlace I Love, The MendelssohnPrayer Mortson

RRocking ; HandelRomance, from Sonatina, G major . . . Beethoven

S

Sandman So Early? The MelloSerenade MollerSoldiers' March, Op. 39, No. 5 TschaikowskySonatina, G major. No. XXXVIL. .BeethovenSong, A SpindlerSong of Hope MiJLLERStudy, Op. 50, No. 10 KohlerStudy MortsonStudy PauerSunshiny Morning, Op. loi. No. 3. .GuRurrSwing Song Ehmant

TThey Finally Agree Mortson

VVioloncello, The Stamaty

Four-Hand Pieces

Gavotte, Op. 43, No. 13 WilsonHappy Go Lucky BehrMarch of the Turks, Op. 43, No. 11 . .WilsonRomance, Op. 43, No. 9 Beethoven

Alphabetically by ComposersPage Page

Handel, George Frederick(xxvii-i8) 59 Rocking (xxv-7) 3

Kohler,Louis (Kay-ler)

At the Tea Dance .(xxiv-5) 18Study, Op. 50, No. 10 (xxvi-8) 40

Lanciani, Pietro (Lahn-she-ah'-nee)

Gavotte (xxvii-i8) 59

LeCouppey, Felix {Le-coop'-pay)

Festal Song, A (xxv-13) 35

Lichner, Heinrich

Melody (xxvi-9) 39

Mello, A.Sandman So Early? The (xxiv-6) 14

Mendelssohn

Place I Love, The 60

Mortson, R.In Solitude (xxvi-7) 41

Jig, A, Op. 40, No. 13) (xxv-12) 25

Nero Strokes His Lyre (xxvii-6) 53Prayer 43Study (xxvii-l6) 54They Finally Agree (xxvii-9) 55

MiJLLER, A. E. '

Serenade (xxvi-4) 42Song of Hope (xxvi-3) 42

Paisiello {Py-see-el'-lo)

Air (Arr. by Beethoven) (xxvii-17) 58

Pauer, Ernst {Pow-er)

Country Dance (xxvii-14) 57Study (xxvi-2) 37

Reinecke, Carl (Ri-neck-e)Dream, A, Op. 107, No. 21 (xxvi-io) 44Echo, The (xxvi-io) 32Evening Peace, Op. 107, No. 27 (xxvi-14) 45

Schubert, FranzI Heard a Brooklet Murmur (xxvi-6) 40

Spindler, Fritz

Chromatic Study (xxvi-ii) 3S

Song, A (xxv-9) 34

Stamaty, C. {Sta-mah'-tee)

Violoncello, The (xxv-6) 29

Tschaikowsky, P. L {Chy-koj'-sky)Soldiers' March, Op. 39, No. 5 (3-x-ii) 3

Wilson, M.(xxvi-12) 46 Gavotte, Op. 43, No. 13 (four-hand piece) (xxvi-12) 46

63 I n the Highlands (xxiv-ii) 13

(xxiv-12) 20 March of the Turks, Op. 43, No. 11 (four-

(xxv-14) 28 hand piece) .(xxiv-12) 20

(xxvii-13) S6(xxx-12) II

(xxvi-6) 40

(xxvi-7) 41

(xxiv-ll) 13

(xxv-12) 25

(xxvi-9) 3912

(xxvii-6) S3

60

43

(xxv-7) 31

(2-xxiv-8) 28

n(xxvi-6) 14

(xxvi-4) 42

(3-X-11) 30

(xxv-8) 27

(xxv-9) 34(xxvi-3) 42

(xxvi-8) 40(xxvii-i6) 54

(xxvi-12) 37(xxiv-io) 19

(xxvii-12) 60

(xxvii-9) 55

(xxv-6) 29


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PREFATORY COMMENTIn this Student's Abridged Edition of The Uni-

versity Course of Music Study, Piano Series,there is contained all of the essential exercises,

etudes, and pieces in the unabridged work, and inaddition a considerable number of supplementalcompositions, which can be drawn on at will tolend variety and an opportunity for choice on thepart of the teacher in the treatment of the in-

dividual problems.

Four books constitute an average year's work,particularly where a student is attending school.Faster progress is possible for those of markedmusical aptitude or who devote more than the

average amount of time to practice, but thorough-ness and a natural development are at all times tobe preferred to a superficial development, howeverrapidly the student may seem to progress.

It is recommended that each pupil shall have aPractice Book, in which the teacher will indicatein writing the work assigned for practice andstudy, that which is completed, and that which iscarried over or elaborated upon from lesson tolesson. It also will serve to show all unfinishedwork which it is planned to review at a later date.With such a record before student and teacher ateach lesson, a comprehensive plan can be pursuedin a systematic way.

At the end of a paragraph of text in this edition,a section number enclosed in brackets indicates thelocation of additional text in the unabridged work.

Under each example number there is found inbrackets and in smaller type an exercise or illus-tration number, by which to locate the same itemin the same chapter in the complete edition.

If the number in small type is an examplenumber, the material has been carried over fromthe teachers' manual; if it reads Sup. Tech. it isfrom a Technical Supplement.

Thus:

Example No. 2[Illustration No. 4]

Example No. i in this chapter of this edition isIllustration No. 4 in the same chapter of thecomplete work.

Example No. 5[Exercise No. 3]

Example No. 5 in this chapter of this edition isExercise No. 3 in the same chapter of the completework.

Examiple No. 8[Example No. 3I

Example No. 8 in this chapter of this edition isExample No. 3 in the Teachers' Manual for thisgrade.

Example No. 10[Sup. Tech. III-7]

Example No. 10 in this chapter of this editionis No. 7 in the Technical Supplement for theJunior Graduate Division (Grade III).

Where no such reference is found it does notindicate the insertion of new material, but the re-printing of earlier exercises for convenience of

student and teacher in connection with the Cumu-lative Review and Elaboration of FundamentalTechnic.

A reference to an example in a previous chapterof the SAME edition is as follows:

(i-vii, Ex. 6) means Grade i. Chapter 7 andExample No. 6.

(2-xii, 5) indicates Grade 2, Chapter 12 andsection 5.

(1-2, p. 36) is a reference to page 2,^^ in Book 2of Grade I, of this Students' Abridged Edition.

The review of earlier work is always productiveof great good, as is the employing of easy materialfor practice in sight playing. These are two prin-ciples most commonly neglected in connectionwith piano study, and which have much to do withthe cultivation of musical intelligence and thatdegree of musical understanding which is essen-tial to musicianship. A review of the earlier ma-terial of The University Course with each pupil,will enable any teacher to standardize his instruc-tion, and eventually if he so desires, to combineclass instruction with private teaching.

The chief endeavor in the preparation of thisedition has been to supply in simple and compactform a selected and graded collection of materialwhich will serve as the basis for any method ofmusic instruction, and which will be within thereach of every student of the piano, without ex-

ception. Every essential phase of piano playingis embraced, but in such form as will permit

every teacher to exercise complete individuality of

application and treatment.


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INTRODUCTORY DIVISION CHAPTER TWENTY-FOUR

TWO-MINUTE STORIESFROM MUSIC HISTORY

LISZT AT THE AGE OF THIRTEEN, FROUAN 1824 PRINT IN THE LIBRARY OF THK

O PE RA , PAR IS

THE GREATEST OF PIANISTSIf anyone who is acquainted with music should be

asked to name the greatest pianist the world has known,the answer will come without hesitation: FranzLiszt. Few, indeed, are the persons who have not heardthe famous Hungarian Rhapsodies played by band, orches-tra, player-piano, or phonograph.

He was born October 22, 181 1, in Hungary, where hisfather was in the employ of a wealthy nobleman. It issaid that a comet suddenly blazed out on the night of theboy's birth. He was a delicate child and his parents de-spaired of raising him. At one time, in his second orthird year, he was given up as dead and his coffin or-dered. This physical weakness continued up to his sixthyear. In his manhood he had abundant physical vigor,and was a commanding figure.

It was then that he began to show marked inclinationfor music; when his father played he leaned against thepiano, all ear, says the elder Liszt in his diary. . . . Herepeatedly asked to be taught to play. On one occasionhe was asked what he wanted to become when he grewup. In reply he pointed to a portrait of Beethoven whowas always his musical idol, in the music room, saying:'Such as he '

The first instruction was given by the father and thelittle fellow made wonderful progress. His marvelousmemorjr astonished every one. Again his health gave wayand his life was despaired of. After his recovery his de-votion to music seemed greater than before. He beganto improvise, to make melodies, and to put them together.

It w^as evident that the boy was intended by nature fora musical career, but the father was too poor to pay forhis education under a master teacher. This, by a stroke

of good fortune, was provided by a group of Hungariannoblemen, music lovers, who guaranteed a yearly allow-ance of $300 for six years.

Next we find him at Vienna with Czerny most stu-dents know the latter by the Finger Studies which hewrote who had been a pupil of Beethoven, at that timestill alive, and the object of Liszt's passionate adoration.

So rapid was the boy's progress under the very strictteaching of Czerny that when he was eleven years old

he gave a concert. He had never been able to see Bee-thoven who did not want to be bothered by a so-calledprodigy; but through the persuasion of Czerny, backed

by other mutual friends, the Master consented to attend.

Imagine the joy of the young musician when he en-tered the hall and stepped to the piano to see Beethovensitting near with eyes fixed upon him. The boy playedsuperbly a concerto by Hummel. Then a theme washanded to him on which he was expected to improvise.(Czerny had asked Beethoven to make out a theme, but

the composer neglected the matter. ) The reception at theend of the concert was overwhelming. And to cap theclimax Beethoven mounted the platform, went up tothe boy, and kissed him several times.

It is worth mention that the great genius of Liszt andthe great improvements he made later in the technic ofpiano playing were based on the strict, classical system ofCzerny, in whose studies many young players can arouseno interest.

Our next view of him is at Weimar, in Germany,which was his home for a number of years, whither pupilsfrom -Europe and America came in great numbers toprofit by his instruction, comparatively few, only themost talented, being accepted. Sometimes he would dis-miss a room full of pupils, saying that he did not feel inthe mood to give lessons. At other times he would hearseveral play, each one present had prepared for a call.Here is a pen picture of a lesson: As the player per-forms Liszt walks up and down the room muttering tohimself, smoking all the time. Suddenly he pauses tolisten intently to a passage which does not satisfy him;going to the piano he bends over the player and deliversthe phrase as it ought to be. Other corrections are madein the same way.

At the conclusion of the piece, if the Master is in goodhumor, he will sit down and play over the whole work,from beginning to end. At another time, without com-ment, he will call another pupil to play. He rarely trou-bles himself to give advice concerning the technical por-tion of a performance. What he looks for and endeavorsto inspire is the general effect of a rendering.

Liszt died at Bayreuth, Germany, August i, 1886.


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INTRODUCTORY DIVISION CHAPTER TWENTY-FIVE

TWO-MINUTE STORIESFROM MUSIC HISTORY

Robert Schumann

SCHUMANN S BIRTHPLACEIN ZWICKAU

TRYING TO FORCE TECHNIGIt is worth more than a passing remark that the early

part of the nineteenth century should have been theperiod of birth of four famous musicians, namely, Men-delssohn in 1809, Chopin and Schumann in 1810, andLiszt in 181 1. Perhaps no other period of two years inthe h is to ry of music covers the birth of the same numberof eminent men in music.

To the first music owes a debt for his service in reviv-ing and keeping alive the classical music and the works ofBach, his own compositions full of charm and models ofclear construction. To Chopin music is indebted for theforming of a school of composition especially suited tothe piano. To Liszt we owe many improvements in pianotechnic as well as his work in composition. And ofspecial value was his influence as a teacher upon themany young musicians who came to him.

With Schumann another influence, a different type ofmind, came into music, the highly trained intellectualtype; he was a university man, with skill in literary work-manship as well as in the composition of music. The artof music needed, at this time, just the so rt of work whichSchumann was qualified to give. Liszt had given socialstandmg to the musician ; and now Schumann contributedto his intellectual reputation.

Robert Schumann was born at Zwickau, in Saxony,one of the German states, June 8, 18 10. His father wasa bookseller and, publisher. Like most persons highly en-dowed musically, Schumann showed his talent at anearly age; he himself speaks of having commenced to

compose in his seventh year. When he was eleven heacted as accompanist to a public performance and beganto gain a reputation as a clever extempore player. Hewas accustomed to play on the piano little musicalsketches which he called portraits of his school friends.

The literary atmosphere in the Schumann home wasnaturally very strong, and his second nine years turnedmore toward literature than to music, no doubt, in largemeasure due to respect for his mother's wishes. Duringthis time he studied very closely the romantic literature ofthe day and wrote some essays. In his eighteenth year hewent to the University of Leipzig to begin a course inlaw. A year later he went to Heidelberg.

But he could not give up music and the piano. We aretold that he practised seven hours a day and even appearedin pubhc as a pianist. In 1830 his mother withdrew heropposition and he became a pupil of Friedrich Wieck, afamous piano teacher in Leipzig, with the intention ofbecoming a concert pianist. He was the father of ClaraWieck, celebrated as a pianist even as a girl, who after-wards became Schumann's wife.

The young man, about twenty years old, threw him-self into his preparation for a musical career as pianistwith great ardor, working assiduously at wrist and fingerexercises, seeking to perfect himself as a performer. In

his anxiety to advance with the greatest possible rapidityand to gain free-finger action he made use of a device

which would keep the finger next to the little one quietwhile the others were moving. It is well known to allstudents of piano playing that this finger moves less freelythan the others. Schumann's idea was that by the devicein question he could stretch the ligament binding thisfinger to the adjoining one and thus secure greater agility.In his enthusiasm he practised to excess and strained thefinger to such an extent that he never recovered its freeuse, thus cutting short his hope for a career as a pianist.

( In this there is a lesson for the ambitious young playerwho is tempted to force his technical development.)

But what was at the time a great disappointment tohim, and a personal loss, proved to be a gain to music.

For he began to develop his splendid intellectual powers,his wide acquaintance with philosophy and literature, andhis creative faculty in the line of composition. As a playerhe would have been heard by a few ; as a composer he hasreached a world.

No doubt all who read this have played some numbersfrom his delightful Album for the Young, Op. 68, whichcontains pieces especially intended for young players. Hewas wonderfully helped by the devotion of his wife whotook upon herself the mission of playing her husband'sworks and of making them known to the public.

The story of their courtship and of how parental oppo-sition was overcome is full of romantic interest.

Schumann died July 29, 1856.


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INTRODUCTORY DIVISION CHAPTER TWENTY-SIX

TWO-MINUTE STORIESPROM MUSIC HISTORY

Giuseppe Verdi

VERDI S BIRTHPLACE,RONCOLE, NEAR BUSSETO.

AN ITALIAN BOY WHO BECAME A FAMOUSOPERA COMPOSER

War was raging in Northern Italy, in 1814. TheAustrians and Russians had invaded that part of thecountry and were driving the French before them. Asthe invaders advanced they laid waste the country, the

Russians, in particular, showing extreme cruelty, mas-sacring the inhabitants without regard to age or sex,burning houses and leaving nothing which they coulddestroy.

One morning they neared the little town of Roncole.The people of the village, the women in particular, wildwith terror, fled to the church, thinking that in thatsacred place they would find safety. But the Russians,after sacking the village, entered the church and killedall but a few of the women and the children who hadtaken refuge there. Among the number who escapedwas the wife of a local innkeeper who, with her baby boyin her arms, had climbed into the belfry.

The baby boy was Giuseppe (Joseph) Verdi, who wasborn October, 18 13. His parents were of the peasantclass and quite poor another example of the way inwhich Providence has placed the child endowed withgenius in the cradle of poverty, compelling parents andchild to develop this genius through sacrifice.

It was in the atmosphere of a grocery and a wine shopthe only one in the village that the future composerof A'ida was brought up. Perhaps the lively good humorof his surroundings for the Italians sing at the tavernhelped to turn his attention to that peculiar quality in

music which has been called Italian melody.It is said that as a little child Verdi would follow an

organ grinder as he passed through the village; and avagabond old fiddler who came to Roncole at intervalscharmed him most of all with his music. When the lit-tle fellow was about seven years old his father, in someway, managed to get a spinet in rather a poor conditionto which young Verdi went at all hours, early and late,playing scales and searching out for himself combina-tions of p leas ing harmonies. It is related that he wasoverwhelmed with joy when he discovered the chord ofC major. But the next day, on finding that he could notget the chord again, he became so angry that he seized ahammer and set to work to pound the instrument topieces, only the timely appearance of the father prevent-

ing total destruction.

His first teacher was the local church organist. Whenhe was ten years of age he went to the neighboring largertown of Busseto to work in the warehouse of a traderand wine merchant from whom his father purchased sup-plies. Not to give up music, however, but to continue;for his employer was a fine amateur and encouraged theboy. Undoubtedly this man noted Giuseppe's markedtalent, for he gave the latter the use of the piano in hisown home and began to regard him as one of the family.

During this time Verdi was educating himself in mu-sic by practice and study, attending rehearsals of a localorchestra, and by copying parts from the score whichbrought him into touch with the conductor who gavehim much helpful advice and lessons without charge. Heprogressed so rapidly that in his sixteenth year he fre-quently replaced his teacher at the cathedral organ andin the conductor's chair.

The next ambition was to go to a conservatory, but forthat means were lacking. Fortunately the town of Bus-seto had a fund to help deserving students, and with thehelp of the money granted to him Verdi went to Milanhoping to enter the Conservatory of that city. Imaginehis disappointment when the director refused to allowhim to enter as a student on the ground that he showedno aptitude for music.

Therefore he placed himself under the conductor of thecelebrated La Scala Theatre, at Milan, one of the ope-ratic centers of Italy. With this teacher he remainedfor about two years, gaining experience in dramatic musicand productions.

At the age of twenty he returned to Busseto to takecharge of the music at the Cathedral; in 1836 he marriedthe daughter of his former employer and patron and

started on his career as composer and conductor. In1840 his two children a boy and a girl died within afew weeks of each other and less than two months laterhis wife died suddenly.

And yet his loveliest, brightest and greatest music waswritten after all these blows: / Lombardi, Rigoletto,II Trovaiore, La Traviata, A'ida, Falstaff and Otello.

The bulk of Verdi's fortune went to establish and sup-port a home for aged opera musicians. He died Janu-ary 27, 1901.


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INTRODUCTORY DIVISION CHAPTER TWENTY-SEVEN

Johannes Brahms

t^J^/J^fi^l^

BRAHMS AT TWENTYFROM A DRAWING BY J. B. LAWRENS.

THE LAST OF THE THREE B'SWho is the greatest master of music after Beethoven?

The answer is: Brahms.

And then we recall Von Billow's celebrated saying ofths three B's of music: Bach, Beethoven and Brahms. It

was nosmall

honor that the great conductor gave toBrahms in classing him with the two great musical giantsof preceding periods; yet the verdict of the world sincethen sustains the statement. Brahms is a worthy and un-disputed successor in the classical style to Beethoven.

Johannes Brahms was born in Hamburg, May 7, 1833.His father was a musician, a player of band and orchestralinstruments, who earned a rather scanty living by such en-gagements as he could secure. While not in actual wantthe family life was marked by poverty.

The boy's interest was wholly in the piano, an instru-ment which the father did not favor. His idea was thatthe boy should learn to play several instruments and indue time follow his own calling. But when littleHannes was seven years old it was decided that he shouldstudy piano with a very competent teacher named Cossel.If the latter could have foreseen, on the day when theelder Brahms brought to him a pale, delicate-lookingchild with fair complexion, blue eyes and a mane of flaxenhair falling to his shoulders, how proud he would havebeen of the charge he accepted Yet there is proof thathe soon became aware of the unusual musical endowmentof his pupil, for he gave him much attention, drilling himin the etudes of Czerny, Cramer and Clementi, and themusic of the great classical masters, as well as some num-bers in the flowery style then popular, thus laying founda-

tion for the characteristics displayed in later years.

When Johannes was ten years old he played in a sub-scription concert to secure funds to continue his s tudies .

So successful was the concert that an enterprising con-cert manager made great efforts to induce the elderBrahms to take the boy on a concert tour. FortunatelyCossel was aroused and protested so vigorously that theproject was not carried out and Johannes was placed un-der the instruction of Marxsen, a celebrated teacher, onewho was devoted to the classical system and to t he neces -sity of technical development. The boy was then abouttwelve years old.

A writer says: The method of training was severe.The curriculum was Bach, varied by Beethoven, withoccasionally a light piece of a brilliant writer thrown in.

Part of the discipline was the transposition of long piecesat sight, in which he showed a high degree of skill. Itis related of him that he would play fugues of Bach invarious transposed keys.

Ability in composition began to show itself while hewas still a lad of eleven or twelve. Previous to that hefound special delight in writing the separate parts of con-certed works in score. (This reminds one of the methodsby which Haydn acquired a knowledge of the principlesof composition.)

In his twentieth year he made a concert tour as pianistwith Remenyi, a celebrated Hungarian violinist, throughwhich association he gained a very intimate knowledgeof Hungarian music, its melodic and rhythmical char-acteristics, material which he used with f ine effect in hiscompositions later. During this same period he alsomade the acquaintance of another violinist, Joachim,through whom he learned to know Robert and ClaraSchumann.

The acquaintance with Schumann resulted in an oppor-tunity for Brahms to play some of his compositions be-fore the Schumanns, and the appearance of an article inSchumann's musical magazine, in which he hailed Brahmsas a master, anJ one of the elect.

One of his few pupils, Florence May, thus describeshim in middle age: Below middle height, his figure issomewhat square and solidly built. He is of the blondetype of German, with fair, straight hair which he wearsrather long and brushed back from the temples. Hismost striking physical characteristic is the grand head,with its magnificent, intellectual forehead, the blue eyesalso remarkable from their expression of intense mentalconcentration. He is nearsighted.

In writing of his teaching Miss May says: Afterhearing me play through a study from Clementi's Gradus(a book of etudes) he immediately set to work to loosenand equalize my fingers. He gradually put me throughan entire course of technical training, scales, arpeggios,trills, double notes and octaves. He not only showed mehow to practise; he made me practise to him during a por-tion of my lesson, not ing every movement, criticising,correcting and giving examples of what he wanted.

If so great a master as Brahms could show so much at-tention to detail, cannot the average teacher and youngstudent also afford to do it, instead of going on in a care-less, superficial guessing sort of way?


11/68

UNIVERSITYCOURSE

INTRODUCTORYCHAPTER XXIV

XXIV

EMBELLISHMENTSGRACE NOTESTHE TURN

1. A Grace note is an ornament which repre-sents a tone that is of either less, or more, rhyth-

mic importance than the tone which follows it,

and to which it is joined. As seen in ExarnpleNo. I the Grace note is written as a smaller

note than the principal note, and the two notesare joined by a slur to show that in playing they

Example No. 1[Illustration No. i]

A Grace Note

i

are to be well connected. A Grace note is a smallnote to indicate that it has no time-value of its

own, but that such rhythmic value as is given

to it must be taken from some other note. [ i]

Embellishments 2. Those Grace notes that lie a half-step or awhole-step above or below the larger note whichfollows them, are called by an Itahan word,appoggiatura, which means to lean : that is,they are leaning tones. The English word em-bellishments is the term applied in generalto Grace notes, and other groups of sounds addedto a melody to beautify it. [3]

The Turn 3. The most common embellishment is theTurn, a group of notes formed by using theupper leaning tone or appoggiatura in conjunc-tion with the written note, then followed by thelower leaning tone and ending with a repetitionof the written note. Such leaning tones maybe called auxiliary or helping tones. The signfor the abbreviation of a Turn is a curved linelike the reverse of a capital letter S, placedabove the note to be ornamented. If the orderof the notes is to be reversed the turn is said tobe inverted, and its sign is set on end, or is reversed,like the letter S laid on its back as in ExampleNo 1. [ 2]

3. There are only four kinds of Turns: eitherauxiliary note may be a whole-step or a half-step above or below the note to be decorated orembellished.

1. C Db C B CA half-step above and a half-step below.

2. C Db C Bb CA half-step above and a whole-step below.

3. C D C B CA whole-step above and a half-step below.

4. C D C Bb CA whole-step above and a whole-step below.

Any of the four kinds of Turns may occur uponeach of the twelve notes in the octave, but in themajority of cases Turns are formed from thenext scale degree ABOVE the written note,and A half-step below it. [ 4]


The Turn

iThe Turn

eve

The InvertedTurn

i-or **- ^P

notation performance notation performance

4. On the keyboard there are sixteen differentTurns, only. The remaining possible thirty- twoare transpositions or duplications of some one of

these. Practise these Sixteen Model Turns as inExample No. 4, also the entire series as InveitedTurns, shown in Example No. 3. [ 5]


iII III

-jjj- i ii-j-|jjj-i 'i-jijjijg

The Acciaccatura5. Where a Grace note is to be played almostsimultaneously with the ornamented note, and


12/68

Example No. 4[Exercise No. i]

T 343414 3 2 3-6 8t rS-i

II III IV

The Sixteen Model Turns

VI

/^Ajl'-'^ hJiW-'lt^J^-hm^im i^ i ^ ^tt-3 3

3 483

4

mVII VIII IX XI

XII XIII XIV XV XVI

Example No. 5{Exercise No. 2]

R RI

RI**

Crushed Tones :: Acciaccatura

Smb rj^ R^M ^m*^ r>'lt ,rJiV

J=(vR

fe '^mR

^

Example No. 6C Minor

^^Mk^-^'Melodic Minor Scales, in nine-note lengths

F Minor1 ^ l..,3_H4_l-*-i^ 1

1^Tty

4 5

thus crushed into it, it is called an acciaccatura.

Practise such crushed tones as in ExampleNo. 5. Ordinarily an appoggiatura is played onthe count, and its duration is for one-half of the

time unit, the ornamented tone following grace-

fully and continuing to sound for the remainder

of the indicated time. In contrast an acciaccatura

is generally played slightly before the count,

and is immediately followed by the ornamentedtone ON the count. Another way of playing theacciaccatura is to play the acciaccatura and the

principal note simultaneously, and either on orslightly BEFORE the count, immediately releasingthe acciaccatura while the principal note continues

to sound.

Practise the Melodic minor Scales in ExampleNo. 6 in the three rhythms previously given.

Hunting Song, Gurlitt 6. To represent the characteristic of the old-timehunting' horn only two chords^the Tonic and

Dominant are used in this little piece. In meas-ures 9 and 10, three horns produce chords in

three-part harmony, and each tone of the chord

is of equal importance, all played lightly and

staccato, with wrist action. At other places theeffect is more that of one melodic voice, with an

accompaniment that is slightly subordinated.

Morning Song, Gurlitt 7. This number affords the student an opportu-nity for practice in chord playing. It is essential

that all chords be played without a break betweenthe hands. In a sense the player ought to have

the feel of the keys under his fingers before he

depresses the keys. This insures the simulta-

neous action of the two hands.

In the Highlands, Wilson 8. The Grace notes in the piece In theHighlands should be played without accent.They should take their time-value from the notewhich precedes them, as if they were sixteenth

notes. They should not be hurried over, but be

played very broadly, the accent upon the fol-lowing note. I I ']

10


13/68

At the Tea Dance, Kohkr 9. The Grace notes in At the Tea Danceshould be played almost simultaneously with

the principal note which they ornament, andwhich immediately follows them, connected by aslur. Since the principal note must be staccato,the effect will be much like a very rapid staccatoarpeggio. Lightness and grace are to be sought,the former especially in the polka section, the

latter in the waltz movement. [ 6]

The Sandman So Early? Mello 10. In this number it is permissible to play theGrace note exactly on the count, crushing itinto the principal note, which follows. Thisinterpretation of the embellishment as an ac-

ciaccatura is possible because of the moderatetempo of the piece. The repeated chords in themiddle part must be kept light, without the

slightest approach to pounding. Keep the fin-gers against the keys, and produce the sound bypressure, each chord separated from the next. 7]

Brittany Folk Dance, Franchescot 11. Keep in mind the different effects of chang-ing steps in a people's plain dance, the type to

which this belongs. The opening double notes,in halj note value, are not melodic but rhythmic,

as are the sounds of a drum. The Grace note isan acciaccatura. The principal theme begins inthe third measure. Observe the accent on theordinarily unaccented count of the measure, asin measures 1 and 3; be sure to join this accentednote to the one that follows, as indicated by theslur, producing a legato effect. Technical interestis found in the passages in Thirds in the measuresfollowing the double bar. Memorize the finger-ing. The alternating two-note groups in measures30 and 31 are an effective means of bringing backthe main theme. [ 8]

Sunshiny Morning, Gurlitt 12. The general style is that of the old-fashionediTiinuet. Attention is directed to the rhythmicfigure of the dotted eighth followed by a sixteenth.Compare it to the groups of four sixteenth notesto make sure that the dotted eighth note receivesthe full time of three sixteenth notes. [ 9]

March of the Turks, Wilson (Four-hand piece) 13. The better to follow the characteristicsof oriental music, the player should place theGrace note almost exactly on the count. Sharp,clearly defined rhythm is important, particularlyin passages in which the pupil does not have thefull melody. [ 12]

HUNTING SONGCon moto

p 1 2^S.S 81 5 1

^m sa^SGURLITTOp.S2,No.42

1

=g^^^ # mz r ' *

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11


14/68

MORNING SONG

Andantino2 3 41 I 1

I

4

i 5 1,:

1^ i

C. GURLITTOp. 140, No.3

51|

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f^^ff

^ f^^^*i i ^^^^^ -s


15/68

IN THE HIGHLANDS

Andante moderate

MTORTIMER WILSONOp. 40, No. 12

S

^mp

i

^=p ^

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1 Û;

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jiâ tempoP^ |

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16/68

THE SANDMAN- SO EARLY?

i

Moderato MELLO

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17/68

1 4 2 ^

a tempo

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simile

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18/68

BRITTANY FOLK DANCE

i

Allegro moderato FRANCHESOOT

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16


19/68

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20/68

AT THE TEA DANCE

Tempo di polka5 . 8 4

KOHLER

3 2 12 1 3,

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21/68

SUNSHINY MORNING

AllegrettoGURLITT

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22/68

MARCH OF THE TURKSPUPIL MORTIMER WILSON

te2 1 2

4ftTW jry^

Op. 43, No. 11

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23/68

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24/68

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22


25/68

UNIVERSITYCOURSE

INTRODUCTORYCHAPTER XXV

XXVTHE DOMINANT SEVENTH CHORD

1. Triads have been explained as chords of

three tones, consisting of two Thirds, one abovethe other. There are also chords which consistof three Thirds; such chords contain four tones.

They are called Seventh chords. The sevensevens are shown in Example No. i. AH Seventhchords are written upon four adjacent lines orfour adjacent spaces.

1xample No

I. A C E G2. C E G B3. E G B D

^. G B DS- B D

6. D7-

The Seven Sevenths

FFFF

AAA

CC E

Such a chord is called a Seventh chord becauseof the fact that the fourth tone, which changes

it from a triad to a four-toned chord, is separated

from the Root by an interval of a Seventh. The

fourth of the above series of seven sevens isknown as a Dominant Seventh, because it results

from adding another Third to a Dominant triadthe triad on the fifth degree of the Scale. [ 6] 2. The Dominant Seventh chords on the twelvedegrees of the chromatic scale are contained inExample No. 2. After these twelve positions ofthe chord have become familiar, practise theSevenths on each of the twenty-four broken chordforms of the Dominant Seventh chord in ExampleNo. 3.

As the upper three tones of the DominantSeventh form a diminished triad, the Dominant

Seventh has the same tendency to resolve uponthe Tonic as has been observed in the case of thediminished triad. Practise the Dominant resolu-tions as in Example No. 4. [ 7] 3. Practise Example No. 5 for strengtheningthe weaker fingers. Play also with the fingers

4321. Repeat with the rhythmic' groupingshown in Example No. 6. 4. Pract ise the Melodic minor Scales of B\} andb, as in Example No. 7, applying also the threerhythmic patterns previously employed (i-xxiii,Ex. 6). The scales of F#, C# and G# minor

require a change of fingering in the descendingform, and should be studied last.


Dominant Sevenths in Chromatic Succession

'>-\ mwww^ n 1 ^^ m Wtm^mExample No. 3

[Exercise No. ^1 5

1. *

Twenty-Four Changes of Seventh Chord Fingeringa 5 ^ 1 4 a \ I 4 5 '~ 1__3_4 ; 5 2 4


26/68

Example No. 4[Example No. 2]

54

1 l|i^|2L^==

Dominant Resolutions

3l>

-^'* 6-7.^ l

\ 'f?ftf \ \ &\^^ '^ ^^^^ r3H^ '1

u 8 I or ,9 u lO u-8- ili8- 11 12 ^.,g^ 13

Example No. 5[Exercise No. j]

For Strengthening the Weaker FingersLEFT HAND

Example No. 6[Illustration No. i]

Rhythmic Variant

LEFT HAND t4 5l

yw'jyJ *' T* J^ *co7itinue 1-**^^ gf^ ^tc. continue

r4 5V3 2 '5

Melodic Minor Scales, in nine-note lengths

E^ Minor

A Jig, Mortson 4. The movement is lively, particularly in

2 1 * ' - -3 * ' * - ' 4 ^

tempting specifically to cut short the secondnote, in order to prevent a general legato effect.

the right hand. Separate the phrases clearly. Confine the legato to the binding together of the

even to the extent of shortening the last note of two tones of the Doublet. [ 4]a phrase. [ 10] ,r. , ,, ^ Violoncello, Stamaty

Sonatina, Beethoven l' ^l ^^ \^mitvrtd from the title the melody

5. The two-note figure in the second measure 'fm the left hand. A general sustamed effect is

and elsewhere calls for a slight shortening on the '^f^^'f-I , ^^^ right hand the accompanymg

second note of each slurred Doublet, using achords are played .f/rr/o, but softly, the fingers

semi-staccato touch. The Romance is really the ^P^ ^'^^^ ^ ^^e keys,

second movement of the Sonatina in G major, fol- ^ Song Spindlerlowing the Moderato which precedes it in this

chapter. The Grace notes in this piece take theirtime from the preceding note; they receive noaccent. [ 5]

Rocking Handel 6. With a few exceptions, the second note of eachof the Doublets, in Rocking, is the same as thefirst note of the following pair, which also isplayed by the same finger. This brings about aslight separation between Doublets, without at-

8. A striking feature of this little piece is theimitation beween right and left hands. Whenthe left hand plays one of these passages the toneis to be more prominent than the accompanyingmaterial in the right hand. The last note of aphrase may be shortened slightly, with a clear-cut attack on the first tone of each phrase. [ 8]

The Echo, Reinecke 9. Between the delivery of the various tunefragments and their corresponding echoes, there

24


27/68

is required not only dynamic contrast, loud andsoft, but also one of execution or touch variety.The tones of the echo are not only softer but ofmuch lighter quality. Do not hurry the echo. [ 9]

A Festal Song, LeCouppey 10. Because of the rapid movement only twocounts are to be given to each measure the

accent on the first count. In measures 13 and 14accent both counts to assist in the crescendo. [ 11]

Romance, (Four-hand piece), Wilson 11. In a Romance the lyric element is prom-inent; therefore in its interpretation one mustproduce a singing tone, making of it a SongWithout Words. Follow the phrasing carefully,as if there was represented the short sentences orclauses in a dialogue. Do not hurry the Triplets,but see that the three tones exactly fill the count,

and that the quarter note on count two follows thelast tone of the Triplet without a break. [ 12]

A JIGAllegro

13 2^5MORTSON

3 4 2 4 1

3 4

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28/68

EIGHTH VELOCITY STUDYC. GURLITTOp.S3,N98.

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26


29/68

SONATINAG MAJOR, No. XXXVII

Moderate (J = 144) BEETHOVEN

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30/68

ROMANCEFrom Sonatina in G

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28


31/68

THE VIOLONCELLO

AndantinoC. STAMATY.

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32/68

SOLDIERS MARCHModerate

P.TSCHAIKOWSKYOp. 39, No. 5

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33/68

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34/68

THE ECHO

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35/68

Echo

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36/68

A SONG

Andantino1

P. SPINDLER

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34


37/68

A FESTAL SONGCHANT DE LA TABLE

F. Le COUPPEY

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UNIVERSITYCOURSE

INTRODUCTORYCHAPTER XXVI

XXVI

PARALLEL THIRDSIN NORMAL AND EXTENDED HAND POSITIONS

1. The interval of a Third embraces threestafF-degrees. It is a Third because it is so writ-

ten. It may be either major or minor, accordingto its scale location. In major scales, major Thirds

are found upon the first, fourth and fifth scale

degrees; minor Thirds are found upon all of the

remaining scale degrees.

Two tones sounded together by two fingers ofthe same hand are said to be Double notes. If

the two tones form an interval of a Third, it is

said to be a Double Third. In normal position

the hand is capable of playing three consecutiveparallel Double Thirds. By an extension of thefirst finger, four parallel Double Thirds may easilybe played as shown in Example No. i.

Practise this extension of the thumb, first in

broken Thirds and then in parallel Double Thirds,

as in Example No. 2. This Exercise is an excellentpreparation for Study '(Pauer), In Solitude(Mortson), Serenade {Muller) and Prayer (Mori-son), all of which are contained in the chapter.

[i]

2. The Silent Exchange of Fingers on DoubleThirds, in Example No. 3, practised with thefingering i 3 - i 2, is a further preparation for the

legato joining together of parallel Double Thirds,

in extended position. Practise also with the

fingerings: 53-42, 42-31, 5 ^ - i 4, 51-42and 4 I - 3 2. This substitution of one finger foranother, in order to prepare for a legaio progression

to a following note, covers up to a degree any sep-aration between tones in another voice. In this

exercise there cannot be secured a legato bindingtogether of- the tones played by the thumb, but thelegato between the tones played by the secondand third fingers gives a general legato effect to theDouble Third passage. [H i]

3. The change of fingers in Reiterated DoubleThirds adds facility and smoothness. Practiseas in Example No. 4, ascending and descending;also with the reverse order of fingers shown withthe first group. This principle may be appliedin A Dream {Reinecke). [ 8J

Example No. 1[Illustratron No. i]

i i i i i- ilr.h. 1

i.h.i i 3 2

Example No. 2[Exercise No. i]

Broken Thirds and Parallel Double ThirdsLEFT HAND

W* 3 * 42 5*^. T^n 1 B 12 13 2^453 4 2 3*2 3^5 2 4

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RIGHT HAND3 ^-ft * .3 , ^ , a - 4

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3 31 1

Silent Exchange of Fingers on Thirds

33 33335 3 31 1 1 , . 1 1 1 ^1 1 1

:s: ^ #^ ^a13

Practise also witt: R.H. ^ ? 3 3 = L-H. | 3 5


Change of Finger in Reiterated Double Thirds

m 543S43543 543 548 B4a ||3 5^3 543 ||.y/\ 321321321321 321 3 21 *2-l_ rm ^ * * ^ ^ * 8 2 1

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32i32i82i821 B48 5*8 548 548 8|1 82 1 ^^3213218213215 4 3 54854354312 33 4 5

3 2 15 4 3

E 346

Example No. 5 Diatonic Succession of Filled Minor Thirds

SE550

Example No. 6 Preparation for Chromatic Study

Chromatic Study, Spindler 4. In the Chromatic Study, parallel Thirdsappear in one hand against a chromatic passagein the other hand. When a chromatic passageappears in the left hand it consists of a chromat-ically filled major Third. The chromatic passage

in the right hand consists largely of a whole step,followed by a chromatically filled minor Third.By way of preparation, practise a diatonic suc-cession of chromatically filled minor Thirds as inExample No. 5, then precede each such group by amajor Second as in Example No. 6.

STUDYAUeo-ro PAUER

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CHROMATIC STUDYSPINDLER

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MELODY

Allegro moderato2 ^^4 3 ~

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KOHLBR, Op. 50, NQ 10

The upper fiagering is stronger for forte playing, and affords excellent practise. Practice both ways

I HEARD A BROOKLET MURMURModerato

SCHUBERT

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53

IN SOLITUDE

Andante 5q 4 **

MORTIMER WILSON

Op. 40, No. 14

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SONG OF HOPEAndante

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A DREAM REINECKEOp. 107, No. 21

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EVENING PEACE

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CARL REINECKEOp.l07,No.l27

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GAA^OTTE

PUPIL MORTIMER WILSONOp. 43, No. 13

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51/68

one after the other in close succession, causing

an effect pecuhar to that instrument. Conse-

quently to arpeggiate in piano playing meansto play Hke the harp ; in other words, to roll,

spread or disperse the chord all of whichterms are used by various authorities. A wavyline before a chord, as in Example No. 5, in-dicates this manner of performance.

The arpeggio sign appearing before whole, orhalf notes indicates that the tones of a chord

are to be played one after the other, while hold-

ing down the keys for the remainder of the time-value of the notes, or by sustaining them by theuse of the pedal. If the arpeggio sign appears

before notes of shorter time-value, the breaking

up of the chord may need to be more quicklyexecuted, so that the tones will not sound after

the time-value of the notes has passed. Forarpeggiated chords of short duration the fingers

may be lifted as soon as the keys are played. 3. For the expansion of the hand to a Third be-tween the first and 'second, and the second and

third fingers, play Example No. 6 which also isto develop strength in the weaker fingers. Prac-tise also with the rhythmic grouping in ExampleNo. 7. Another extension of a Third betweenthe fourth and fifth fingers is introduced in Exam-ple No. 8, and in the piece They Finally Agreewhich is contained in the chapter. [7]


/I r.h.

HE^

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Arpeggiated Chords

l.h. k3-S3 ^379= :^

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^SExample No. 6

[Exercise No. 4]

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LEFT HAND

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. 4541,3. 1^3. -__ RIGHT HANDI ^> JtiffliJJJiUiJJJ^i^rPirrr^rirrr rrirrr.rnrrfHi

Example No. 7[Illustration No. 5

Rhythmic VariantRIGHT HAND

4 5*133Example No. 8

[Exercise No. 6]

For Hand Expansion

r.h. 13 12 ^a^2 1 3 18

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52/68

Example No. 9 PEDAL STUDY: Depress the pedal on two and raise it on one[Exercise No. 7l LEFT HAND

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STUDY, The Damper Pedal

Adagio

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To Be Played with One Finger

:s

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4. In practising Example No. 9 depress theDamper pedal on count two of every measure,and release it on one of the following measure,the pedal lifted exactly as the key is struck for

the next bass note. The chord is struck on threeand it continues *to sound until released with thenext motion of the pedal.

The effect of the Damper pedal, is made veryevident in the Study to be played. by one finger.The same applies to the flowing bass figure inBy the Spring, and to other studies in arpeggiatedchords which follow in the chapter. [15]

5. The series of major scales in twelve Keys, withF# repeated as G\>, as in Example No. 9, shouldbe practised in the three rhythms which previouslyhave been used with the minor scales, (i-xxiii,Ex. 6.)

By the Spring, Gurlitt 6. Observe the pedal marking: The bass noteis struck and the pedal is depressed with the

second note of the broken chord, to be released

when the next bass note is played. This is some-times known as the syncopated pedal. [ 17]

Nero Strokes His Lyre, Mortson 7. The arpeggiating of the chords in NeroStrokes His Lyre serve to give emphasis to thecontrasting short legato theme of four tones whichoccurs twice in the left-hand part. The uppertones of the chords in the next measure in eachcase echo the last two tones of this theme. Whenthe waved line is on the upper staff only, the chordtones in the right hand are to be arpeggiated.If the line begins on the lower staff and is carriedto the upper, the lower tone for the left hand issounded first and the others follow quickly leading

up to the highest note of the chord. This appliesalso to the chords in Aeolian Harp. In these twopieces is illustrated the close relationship betweenarpeggiated chords and the Damper pedal, whichbecomes still more important where the chords areso widely dispersed as to be impossible of perform-

ance as solid chords.50


53/68

Example No. iOr.h. 1

The Major Scales, in nine-note lengths4 . 3

G

D

E

B

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Gl,

Dt

Al.

Et

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l.h. 5(1) (4)

51


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BY THE SPRINGPEDAL STUDY

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CORNELIUS GURLITT

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AEOLIAN HARPLento religiose 543

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STUDYMORTSON

8. The practice of Double Sixths has the same case the chief requirement is a flexible and welladvantages to a student with a small hand that controlled wrist motion. Both hands are welloctave playing has for the normal adult. In each provided for in this study.

Allegretto

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The Hardy Horseman, Czemy 9. Scale passages at a rapid tempo for both

hands, form the principal material in this study-

This can be used effectively to develop velocity.

[8]

Swing Song, Ehmant 10. The phrases in the right hand are not to beplayed in a jerky manner, in spite of the inter-

ruption to the rhythrnic flow by the use of the

dotted quarter notes. The left-hand figure com-bines with the right-hand part, filling in the

regularity of the rhythmic pulsations, so that .it

may be played quietly and with smoothness.

Country Dance, Pauer 11. As is frequently the case with country dances,an accent is placed on the second count of the

measure. In the attack on the three-note chords,

the right and left-hand parts must be playedexactly together.

Air, Paisiello

12. The left-hand accompaniment is subdued,and the right-hand part, especially in the Sixthsand Thirds, is to be played smoothly and in adistinctly legato style. The Grace notes taketheir time value from the notes immediatelypreceding.

[ 19]

Gavotte, Lanciani 13. A peculiarity of the gavotte rhythm is thatphrase-groups usually end with the second countof a measure and begin upon the third count.There is a melodic movement in the bass thatshould be emphasized by a slight pressure; forexample, in measures 1 to 5, this figure consistsof the tones G, A, B, C, B, Fi^ and G. [ 20]

THEY FINALLY AGREE MORTSONModerate

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COUNTRY DANCEPAUEE

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AIR

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PAISIELLOArr. by BEETHOFEN

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GAVOTTE

Allegro moderato

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PIETRO LANCIANI3 4 1

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THE PLACE I LOVE. , ^ MENDELSSOHNAndante

Would you know the pla ce I love, When cool nig-ht is fal l - ing?

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?^^^ ^'Tis the ral-ley, whe re a -bove Turns the mill wheel, calling-. Where be-neath the

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5sha-dy trees, FIoavs the brook-let, softly g-leaming-, There I of-ten sit at ease

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HAPPY GO LUCKYPUPIL

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