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form 048

^
Kullak.

THE SCHOOL OF OCTAVE-PLAYING-Settion One

Piano

SCHIRMER'S LIBRARY
OF MUSICAL CLASSICS
Vol.

Y T Y Y Y Y Y
Y Y Y Y

475

KULLAK
The School of
Octave-Playing
For the Piano
Section
I:

Preliminary School

$1.00

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SCHIRMER'S LIBRARY
OF MUSICAL CLASSICS

THEODOR KULLAK
The School of Octave-Playing
A
Supplement
to the

Method

of

Modern Piano -Playing

Section
Exercises for
I:

PRELIMINARY
Hands
Library Vol. 475

SCHOOL
for Octave-Playing

Developing the

Section

II:

SEVEN OCTAVE-STUDIES
Library Vol. 476

Biographical Sketch of the Author,

and Translations by
DR.

THEODORE BAKER

G.

SCHIRMER, INC.
New
Printed
in

York
Inc.

Copyright, 1898, by G. Schirmer, Inc. Copyright renewal assigned, 1926, to G. Sctiirmer,

lh< U.
S.

A.

Prf'paralory
>.i^.

Exercises

Section

I.

Preliminary Remaiks.
(1)

Di'.xterity

in
tlic

octave- pla\int;
(rainint;
is

is

csscut

iall\-

to

/c^ntn playing,

which

is

hased on the simple

dopondcnt
sisfanrc of

on

of

tlic

wrist, thr as

''finger-stroke from the knuckle-joint!'

this st\]i'''lcg'a(o playing
1j\'

we term
wrist."
tlie

v\liirl)

rfi|iiirt'd

in

two

<liffer'nt di-

the aid of

tlie

reitions
a.

(2) In the second place,

playinj:;, in

we must consider

In
fall

stdcraio
of
tlie

order that
h\-

the

rise

training of those fingers which are chiefly employed

in

ind

hand

reiiuired

the

sejiaration

octa\e- playinf:.The principal finger

is

the thumb;

of the (ones, ma\" he

out
b.

e.vecnted easily and

with-

the fifth

and fourth fingers are next and

sei

in

impor
only
in

stiffni^ss.

taiu-e,the third
in
tlie

ond being

utilized

In

Ir^atn phuint:,

order to facilitate

tlie

very subordinate capacity. The three principal fingers

1,
I

risiiiir

and

fallitiir

of

hand,Mhich has

to

serve
of

and

f),

require special training

(particularly

as a ^^ei;ht

augmenting the pressure inquired

for the Ifgatn

execution of successive octayes), for

the

finger depressing the key,

thus facilitating a of execution

.

the

reason that they are obliged, by the distance belm\'er

sustained
this

and connecti'd

stj'le

For

tween the

and higher tones of the octave,

to

risiiiic an<l

falling are neressarv to pre^entoIn

verexertion

and exhaustion.

contradistinction

assume positions and perform duties a( variance with those demanded by the simple finger- ^eg*rt^O.

-> -f-^- -*;

I.

Staccato

Playing-.

Repealed striking of one and the same key

fingering 1_5; the simple
wrist- stroke.

-,

hand mus(

lie

execu(ed as evenly as possible. Ac

higher
up-s(roke,so
t.ha(

cents require a
s(rol'e

(he down-

.\ssuming that the

attitude

puj)il

knows

the correct

may

gain greater power.

is

Each of
several

the fol-

of the body and position of the seat,

as

lowing exercises
in

to

be repeated

times

well as the correct angle between the forearm and

upper arm, (he simple form of the wrist- stroke

quires
la((er

re-

same manner. The unem.ployed With fingers should assume an easy attiiude.
succession
in

the

independence of (he hand of (he arm, which

increasing facility, the

tempi)

ma\' be
i

accelerated
etc.)

must

s(rive (o re(ain i(s

normal position.
the

and

various
into

degrees

of

force

p, f,

may

The up-s(rokes

and

down- strokes of

be taken

account.

I3SS8

Copyright, 1S98. by G. Srhirmer, Inc. Copyright renewal assigned, 1926, to G. Schirmer,

Printed intheU
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Inc.

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Chromatic

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Also practise with the

playing
the

left

hand, the right

same

accompaniment.

II.

Leg-ato Playing".

(1)

"Touch"

is

the technical term

for "the de-

of the tones can be effected only

ers

velopment of tone" on the pianoforte. In teaching touch, three phases are distinguished:
the up-stroke (lift). The preparatory the down-stroke. b. The tone-producing c. The tone-sustaining the clinging pressure
a.

the employed press weight of the hand augments the power of the supporting fingers, bearing down on them during the rising and falling of the wrist. At the same time,

when the down the keys, while

fing-

of the finger on the key, time-value of the note.

corresponding

to the

The height of the up-stroke is determined by technical and musical requirements. When the finger is perceptibly lifted from the key before the downstroke, the
sults.

members of the arm are likewise affected; the forearm, more particularly, is obliged to participate in the movements of the hand. Even if the wide octave- stretches admitted of an easy legato by means of the "finger-stroke from the knucthe
kle-joint^' only fingers 3, 4 and 5 could fulfil the requirements of this style of touch, whereas

hammer- touch
if this lift
is
is

But

the stricter sense) rebarely, or not at all, per(in

called the'^pressure-touch',' ceptible, because the sensation in the hand is rather one of

we have what

the thumb, even at the lowest lift from the keys, would immediately destroy the smooth connection,
strictly
(3)

speaking.
the essential

pressure than of striking. Although this distinction may be termed more quantitative than specific, long
experience in piano-tearhing determines me to treat these two styles of touch as separate and distinct. Musically considered, the pressure-touch is chief-

The movements which form

features of legato octave-playing, can best be illustrated and learned by pressing down an octave

by reasonof the greater fullness and roundness of the cantilena. For technical reasons it becomes indispensable whenever one finger (e.g., the thumb) alone has to bind successive tonesj because the slightest raising of the finger from the
ly important
in the sphere of the pressure-touch. In this style, a strict binding

on the white keys with thumb and little finger, and then, without quitting the keys, raising and lowering the hand. The rise and fall should be as nearly equal in height as possible, and in strict

rhythm (counted) and even tempo.

has been learned,
retain these
all

When

this
is,

that has to be done

to

key would prevent the legato effect. (2) Legato octave-playing belongs

one key to
ples a, b,
c,

same motions while passing from another. After brief study of Examd, e, and f, choose,

138K8

(4) For the first exercise, a fragment of the chro-

chromatic

scale.

Now, we have neither

an alter-

matic scale
5;

(I).

On

the white keys, take fingers i-

nation of white and black keys, as in Ex.1, nor a

on the black, fingers i-4.

The black keys being

succession of similar keys, as in Ex.2, but

find,

the higher, the

hand should be low on the white

on C depressed, on C# - raised,
on

between
call

E-F

keys, and high in the air on the black keys, e.g.,

for

and B-C, two successive keys which the low position. Here the hand must eithe hand
in

ther be shifted sideways, keeping

the

same
etc.

position with a stiffer wrist, or the

fingers

D depressed;

(5)

For the second exercise, choose

any

fragkeys,

must be quietly changed on the first key. (7) For players whose hands permit of using the
third
this

ment of a diatonic
e.g.,

scale having only white

finger

in
is

octave -stretches,
to

we remark,
R,

that

C-D-E-F-G;

employ alternately

the fin-

finger

be employed like the fourth.

raising;

gerings 1-5 and 1-4, lifting the hand each time for the latter, and depressing it for the former. (II).
(6)

(D indicates depression of hand;

SS, side -shift.)

For the third exercise,

choose

the

entire

Practise also with the left hand, the right hand playing the same accompaniment.

(a)

D
1

4
m

R
;

(y,) Id;

D^ 3R
j
"

D
3

31:

i|

elj

:gr

s-

Tit

:g.

"F
D
(d)

iO
D
D

TW
D
Normal

=P

i
-ftSH

(e)

position of the hand (palm).

1^4-

-4^

ta

zsm

:3S3

333
ist-

^It

-t-0^

~rm

sidesideshift
shift

13858

III.

Training' of the sepai-af*' finjjers

employed

in

Octave-playing-.

The

lliiimb

is

lilt'

principal

finji^cr,

heraiise

it

is

above

its

normal plane, and stands

at

an angle to

emploj'ed for e\t'rv ort.ive, wiit'thcr staccafo

nr

the kt'yboard instead of parallel with

l3)

it.

legato;

tlu'ii

rdirit'

the

5'J'

and

4'li,

and finally,

In the third position,

it

is

below the normal

for large hands, the 31^.

plane.
that a supon its already resting key, the porting finger hand is set obliiiuel}- to the keyboard, and on de141

The hand can move in four directions: Upward, downward, from right to left, and from left to right; the two last are called lateral (or side)
mo\emeiits.

In the fourth position,

is

assuming

pressing the next key, makes a movement

itself,

from
as-

The hand
ger
is

provided that

at least

one fin-

left

to right.

actually

in

contact with the keys, can as-

^5j

In the fifth position, this

movement

(still

sume
(l)

five positions:

The normal
it.

position,

i.

e.,

parallel with the

la}* tlie

suming at least one supporting finger) from right to left.

is

made

keyboard below
flat

To

illustrate this,

hand

on fi\e or six white kevs, so that the

pilm

also touches the keys, with the fingers

out straight.

stretched

finger in the normal position of the hand, or a stroke in the oblique position be can effected without 4 and ^l^ making (comp.
a

The stroke of

away

thnt

Then draw up fingers 2 to 5 in such of little hammers; the}' assume the shape

the
its

forearm, in particular, is meant) leave own normal position: it may remain quite pas(the

arm

the finger-tips, just next to the nails, resting on the keys, and the lower edge of the thumb (which
is

sive.

(Stroke after the hand has been set

-

obliquely:

the side

stroke.)
in

This side-stroke

is

of special im-

slightly curved inward) also

pressing

its

key.
fin-

portance

arpeggio'd octaves (see Appendix).

Finally, without relaxing the pressure of any

ger,

draw back

the hand until the palm no longer

in

Remark. The oblique turn of the hand affects the arm to a certain extent, by turning it slightly
on
its

touches the keys, but stands out horizontally

front of the keyboard.
(2'

axis,

biit

without changing

its

place.

In the

second position of the

hand,it

is

raised

A. Traininfi- of the Thumb.

(a)

For staccyto playing.

(li

Withcnit supporting finger.

its

tip -joint

outward, and strikes the key with the

For striking white keys, the thumb bends its tipjoint somewhat inward, and uses, for the heavier

and more vigorous strokes, the entire lower edge of this joint, employing for lighter strokes onl}- the
part next the
tip.

whole edge, the latter crossing' the key. The stroke is the wrist - stroke; sometimes in the combined form in which elbow and wrist are employed together.

For striking black keys,it bends

l3SoS

(2)

With

at

least one supporting finger.

is

In this case the side-stroke

employed;

i.e.,

the

thumb- side.
in

Although
free

this

side- stroke

is

the hand
line

is

formed

lifted obliquely before the stroke, the by the knuckles being- no longer hor-

izontal. 'The best supporting finger is the fifth, because the hand can then be raised highest on

octave -playing, this mode employed of practising the following exercises is of utility to this branch of technic, because the thumb

not

gains

in

certainty and skill.

(b)For legato playing.

The same exercises, with

no break
in the

the

difference,

that

smooth legato must occur,

legato.
It

the

thumb acquiring an unassisted

cute such a legato

can exe-

sure-touch without an}' dowivstroke proper, and by gliding smoothly from one white key to the next, or from a black key to a white one (glissando).

by employing only the pres-

Practical Exercises for the

Practise in three ways: (l) Staccato, without supporting finger; stroke and down -stroke from the wrist.
(3)
(3)

Thumb- stroke.

Legato.

up-

Staccato vvith supporting finger;_ side-stroke

a higher and more vigorous down-stroke^ in the up-stroke a firmer legato, pressure on the key.

In the staccato, accented tones require

Right hand
1.

13858

rj'

B4 ps

11. Right hand.

12.

13.
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Left hand.

23.

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B. Training" of the Fifth and Fourth Fing^ers

(also of the

Third).

(a)

For staccato playing.

(l)

Without supporting finger. First practise the

finger,
quite

(2)

With

(at least

one) supporting finger.

As

in

following exercises without a supporting

training the thumb, only the side-stroke can be employed.

and with each of the three fingers

alone.

5, 4,

and 3

The best supporting finger

it

is

the thumb,

The finger employed may be

down-stroke

slightly stretch-

because
S^h and

permits the highest up -stroke of

3C?) finger.

the be

ed, so that in the

nearly the

whole

4tli (or

Each exercise
at a

is to

fleshy finger-tip touches the key.

at the distance of an octave
finger.

Keep the thumb

practising

played with one finger only

ly

time

(the

31" on-

from the

when

the

hand

is

suitably conformed.)

We

rec-

In accelerated tempo, only the wrist-stroke

(the

ommend

these studies, and in part those under N?l,

can be employed. In comparatively slow playing

stroke from the finger-joint
is

like the side-stroke of the

thumb, because the genis

forbidden!), the stroke

eral strengthening of the fingers

very helpful in
is

from the elbow-joint, and also the combined form of the simultaneous elbow and wrist-stroke, can
be practised.

octave -playing, although this particular form

directly employed in the latter.

not

(b)

For legato playing.

Pressure-touch. In order that no break may occur, there

one,

is to

be employed. Both the irregular passing

5tl?,

must be no

lift

from the

key, the finger

of the 4tii (or 3?^) finger over the

and the

ir-

employed clinging constantly with its tip to the key. Raise the hand on black keys, depress it on
white keys. Fingers
5,

regular passing of the 5th under the others,

quires special attention jmd training.

re-

As
be

a supple-

(and 3) must alternate as

keys, the 4*]} (or 31^)

mentary exercise, the studies may

practised
for large
e-

much

as possible.

On black

with the "hammer'-touch, but legato;

should be used. For two successive keys requiring

the

hands can employ

this style

with good results

same position of

the hand, either the side-shift,

ven in legato playing.

or the quiet change of finger on one and the

key, or the glissando

same
white

from a black key

to a

issts

10
Practk'iil

Exercises

for training- the 5^^, 4^h

Practise in three wa^'s;
(a) Staccato, witlimit siii)]i()rtinii finp^er. Up -stroke and down- stroke from the wrist. Each exercise to be practised with one and the same finp:er quite a-

and

3'"-^

fing-ers.
i.e.,

same

finger,
(2)

either
thi'

th>'

rX'i

or

lU'

(nr ;3''d,\\ht'n

suitable)-,

Using

playing, as
(c)

marked above

fingers required by the notes.

legato

lone.
(b)

Legato, with and without supporting finger. N.B. E.xercises more than an octave in extent, can,
of course, not be executed with a supjinrting finger.

T\\'ofolil

Staccato, with supportinij finder. Side- stroke. fine^erinii:: (1) For each exercise one and the

Right liand.
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20. Left hand

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IV.

Both functions of the wrist combined.

are by no
(3)

For the hammer- touch, an up -stroke and downstroke are employed; for the pressure-touch, the lifting- and depressing of the hand with a supporting

means

forbidden.

With notes of equal time -value, when the same key (or a similar key) is struck repeatedly,
and depression alternate as evenly as or more e., take each group of 2, 3, 4 possible, successive strokes with the hand in the same polet the lift
i.

finger.

the latter, as already seen, we obtain the legato effect in octave-playing. But this lifting and depressing of the hand may likewise be effect-

By

ively

employed

for staccato octaves, in simultaneous

sition (either high or low).

combination, especially for the execution of long and

rapid octave-passag-es
Liszt's
strict rules

(e. g.,

Schubert's "Erlkonig',
in D\>

Hungarian Rhapsody

Bl*).

Though

cannot be formulated, some practical

hold the

hints
(1)

may be offered. On black keys, generally

fing"er,

The skilful and well-considered utilization, and the greatest possible regularity in alternanation, of lift and depression, is one of the best means of avoiding weariness and stiffness in the hand and arm during long octave - passages. A too arbitrary alternation in the position of the hand is apt to render the playing

hand high, by

using the 4th (or 3rd) no means forbidden.

though

the 5th is

(2) On white keys, generally hold the hand low, and use the 5th finger, though the other fingers

unquiet and uncertain. The following exercises require no further

commentary.

13858

12

Practical Exercises.

indicates the raising (high position) of the handj

Exercises

I (a) (b) (c) (d) (e)

are to be practised

in

D, depression.

succession without change of tempo.

(b)
(c)

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14

Section

11.

Preliminary

Remarks.
(2)
(3)

When

(he

hands and

fing-ers

have been so trained

fulfil

Octaves in progressive intervals.

by the foregoing- exercises, that they can

fnnctions demanded by octave
Section, containing octave
bination,
-

all

Passages

in

broken chords.
full

playing, the

Second
com-

(4) Octaves
(5)

mingled with

or partial chords.

passages

in manifold

Interrupted (simulated) octaves.

may be taken

up.

In order the better to ob-

(6)

Overlapping octaves, the hands alternating.

tain a systematic view, the

exercises are

arranged

(7) Exercises

on the Tremolo,

Trill,

Appoggiatura

under the following heads:

(l) All the scales, including the

and Glissato.
chromatic.

I.

Scales.
(1)

(a)

The

scales, like everything else that one

would

Legato.
Staccato with the legato fingering; and Staccato with the
It is

master, most, of course, be played very slowly and

firmly at
first.

(2) (3) (b)

As

to the fingering, all

octaves
1^*

may

1%^

jmd

5*1?

fingers throughout.

be struck,

in

staccato playing, with the

and 5*^

unnecessciry to explain, that tempo, tone

fingers, whether on black or on white keys, so long

power, rhythm, certain characteristic colorings (such

as maestoso, pomposo, tempestoso, appassionato, gra^
zioso,

as the elbow maintains

its

position unchauiged.

Some

celebrated pianists, like Alexander Dreyschock, have

raised this simplest of fingerings to the dignity of a
rule;

careszando, scherzoso,

etc.)

cire essential in

de -

termining the height of the up-stroke and down-stroke,

however,

consider
in

it

practical to

apply

the

and of

the raising

and depression of the hand.As soon

is

fingering required
of what

legato playing

taking note

as the first mechanical study

accomplished, ne\'er lose

was

said on this point in the preliminary' restyle.

sight of the principle, that for special artistic purposes

deviations

marks
all scales-

to the staccato

Therefore, practise

from

the hard

and - fast rules of the school

are allowed.

->^>- .H--.^

1M68

15

III-

16

*^

fT-T"*

=^

ni3 I

- -

*
I

^ 5

"I

J J
3 4

:ff:A^ii-l

B_4

Yrajrrrffi:
4 A 34__o4.*B - 1 4
Q^

i*

"

K.

:^^

^^31 ^

"3~r

(e)
is

When

a white key follows a black one,

the latter

always taken with the 44^ finger:

handiest, but unfortunately, as already observed, all hands can use it.

not

As no normal fingering,
(f)

like that for the simple scales,

On two successive black keys,

fingering employing
the

the

change
is

is

opthe

can be adopted, it will be an excellent plan for the pupil to try, with the aid of the remarks under (a\(b\(cVd) and
(e),

tional.

to

finger

often

pare

it

concoct a fingering for himself, and then to comwith the one which I have marked.

13868

M
5 *

hhhn
*
6

4 6

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6

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^
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I

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4 5

4 6

1*^

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45^4 6
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1 s *

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> d" H

48
8 S

2*

:-n-y

f=^
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6 4

4 4 6

4 6
ft

l^^^'f
4
6

i-'

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f^#i *4|
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a I

4 4 6 ^ ^ 4'

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138S8

"
In

II.

Octaves

in

Progressive Intervals.
The succeeding exercises can be played only
in

staccato playing, all these exercises will be executed with the l^.t and 5^Pj wrist-movement as
legato, Ex. 1 offers no difficulties. In Exercises 2-8 the 4*h finin

an

the scales.

With regard

to the

approximate legato; for the change of fingers indicated by the figures can be effected only in moderate tempo.

germust be much bent, the 5*h striking rather

1.
rt

flat.

r.

A*r4

22
10.

20.

21

^
^
J

55

^
etc.

^[j^t^J

^^P
f

I
etc.

j ^jl * ==*

iH hJd

!2k:

i=1#

^*^t;^^W "*

z=

i'r
I

i^3 *-#

ai3C

3 i

Pi

*"

^--

^;
^

s
eI

5i

i ffl

^
i

^
4 4

23.

^^

? ?i

J
etc.

25.

i
etc.

i?;

^^^:

:^ s*

26.

3tft I
etc

^L^0-

w&
^^
^i^: *-i|*

4-

27.

28.

fe^
4

f.
t?

^1^

f^

^^^^
etc

piB: p

* * ^

UIPz.
etc.

[;

-^

^^

33
III.

Passag-es in Broken Chords.*)

o
5

1.

15
P _ P

m'~
*

$ t=^.^
5
<5-

'-
4
5
5

5^4

m
fe

6*^46

iiJm ^
6.
5

' Similarly

in

and

F,

f1
4
" 5

8.

Similarly
in

and E.

Similarly in At> and

Ek

20.

1r

5^5

^l; -

*
#.

22.

:=

:_

M.

4
players hand, the tempo, and even the expression. Fiall possible phases of the legato cannot be pro-

*) Remark. For playing these passages legato, a normal fingering is as impracticable as for the scales, as in both cases too much depends on the peculiarities ofthe

nally,

vided for
is to

in

advance; for instance,

be

this

played thus
is to be played thus

but this

13868

Similarly in

D and A.

Jimilarlv in

Ak

ippp^i*...
r

mmi
5

404 1 1 5

Similarly

in

F.

The above exercisesmust

also be practised in contrary motion; for instance,

The same

for

major.

The same for

Bband

F.

IS868

40.
I

" 4 * 4 1

I
r*
'

BE
4

^
41.

25
r.
.".

:!

Mq

.l*^if|l,4

r^
'

^T*^

4^1:.
r,

4^

fcft

rvj

II

i^^tlI
.

^
S

5^

45.
iJ^W.

:<^ii

Jll^'^^^jlr
r^

i
'

ip
A'-'*
3

46.

i^ ?

IV.

Octaves ming"led with

full

or partial chords.

The interspersed chords must not be taken by striking, but with the "pressure-touch!' After the pressure, the hand must rise swiftly, so that the
1.

following empty octaves may be played, as before, with a light hand- movement.
2.

i-TTi

-**

TF
3**

^m
m
-tv-

331

p ^
r\ 3.

-v-

v>-

r\

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P F F

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331

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nf^

"7=

36
6.

rm

rrn

'i
.

nn
r
r

nn, ^ irn^
,

=&

"JJJJJJi
ES

-<4-

^^ m.
,i

rrn
r
r

nr
r

Xaa aa

^
n:

O^
ro:

4^
*r*-

331

AT"

Z5Z

.7.

'sr

x_

sx.
-r-

_o_
-f-

_o_

:xi_

W^^

-fV-

-^V-

-O-

nc
8

m*i

mm ^^ i-^^
Q

g-*

mmmm^Em

mmr
ii^i
11.

feN

Eje

331

e;

33'^tttf

uii
.12.

si:^ sii^

*
i

iic

mmm
^ A ^

i^Lmi
\ \ ^ A
^ \ ^ -

13.

1^

f*^lif[i!

LL138R8

^J'lii^

27
V.

Interrupted (simulated) Octaves.

In these

These are successions

sino;le tones.

When

of octaves alternatingwith played verj' rapidly, the effect

is

exercises nearly all the fingers, and more

especially the 2", are emplo3'ed.

Those which

can

of

some of the examples below

like

an uninter-

be played

legato are marked accordingly with slurs.

rupted succession of octaves.

jii

M^f
ii

>

H. lJ
\
\

"r

^r

-r

f ^f

iWt

^P
r

Effl-

II
s.
;!::

III

'i\ ^
1

i
^

^*
2

k
a
1

^^t'?"?
9.

'-

"'

^3^s
# =
2
1

-m-

:n7y1

\
1

^ # f ^ f
F-

#^

10.

!F-

i
i

-^t

^.;tJ'^^

12 12
11.
^

t ^ #

m
"
etc.

r f t

^^ ^1
(S

:^
"

r"" r

# ^ HI

E^
e e e *
etc.

12.

''

# =:

^
ff 2

g ffiffl

* #
<^2
fefc
.

:=

:=

12

-^

imm

^ e *

15.

i
2

M^
It 12
1

te

12

" s

'**'i

i e

Hm

cWi

13858

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rr^ rr^
29.

30.
^-^

^^ 9^ :y'i:J[is"^i^t:j^
I I
3:
--^

t'^

Sl

M.

^
r
1

*"i

^^^

e
i^-i
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3

Left hand.
1.

^^^

12
.

..b.|;..Mfi>ffjff

iiiitiJsli

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\

B
i
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'i

3.

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;

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1381(8

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10.
1

r fffTtfiC

mmf
r

9.

2 i_g

'

^^

w
#

^,1 -|,ii

i
#

*
-#-

]-^

iW
ff:

^
13. 15.

12.

etc.

g=a

<:

^
3=

mI
tt'

B
16.

"~

^
17.
.f:-4i

^fe

i>

i i

i
20.

euj

(:il-

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^
18.

p
23.
2
I

M D^mm
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2.3

8*
2--.3

-^^ #

5"^

^:

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^*^

18858

30

"

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]7ll ^"7^

T ^"^

'

^ ^^
-"^
:

13N58

^^

31

VI.

Overlapping" Octaves,
the hands

tlie

hands alternating".
In the first examples, both the bas-

These octaves are so termed, because

overlap each other
(i.
e.,

recognizable.
ic

the thumbs).

When

rap-

idly executed, they are remarkably effective, and sound, like the interrupted octaves, as if double

figure, and the part which each hand has to play, is given in small notes. It is a good idea,
first of all, to

Here the most imthe two are portant fingers thumbs, which play the real connecting thread of the passage; they
must, therefore, strike very confidently, and so evenly that the basic figure (the thread) is distinctly

octaves were being played.

analyze the figure, so as to find the thread" and the intervals through which each

hand has

to pass. Of course, all octaves, except those bearing a principal accent, are to he played

evenly with both hand's.

'

nl

88

13SS8

33

^^
^P
19.

Urn

IS.'^ t)^
b)
>>i^

\.^
^)
i)

it-V

ftp

\P

b' f^

i^
iZM*

b.)'

s
^:

f d

5
tt.

pTTF^
F
^|

-^^

r=^
^-:

i
'^^

=i=tt
-f
r

..itJ'^tf'

J*

^
*^i_

r!5

s
20.

HI'
p
^P

sj*
tf

p
P

I i

M
21.

I
3=P

^ r%

i
f

1.
3t=ii:

/T>

=n^

^^^^

^
18b68

^^ ^^^ e^ -r-^ T

f^
c/

34
VII. Exercises on the

Tremolo,

Trill, Aj)pof^-g-iatura,

and Glissato
a full, but very

The vibrations must succeed each other with

extreme rapidity,
1.

even touch.
difficult, trill.

Example 6 contains

like

th^e

roll of a

drum, and with

i
m

11111111111111^

trem.

9-

-9-

22

trem.

3- Left

Hand over

the right

188B8

35

G.

g
?

5 f^ i
^
p
1>

KOI

1*1* I ^

^ S^^
^ g^ : r
the white keys.

^
i:

-tv-

qF ^

_o_

|r7

w f ^ f L p L -

r K r

-o-

In the appog^g:iatura-exprciseR 1-6, the l\-t and 5^? fingers are drawn lightly from the black to

^JL

P If
5

i^

ii

jii

^E
5

5
I

tt

V^5
5

Ir '^^
*
'L
'

^-

glissato in octaves is best performed by strikthe first octave vigorously, and then gliding ing
lightly
(a^

The

(right

downwards
on the nail
.

hand) with the little finger much bent; with the bent thumb resting almost

ithout pressure) over the keys ^-upwards

13S58

36

Appendix.

Within the domain of Octave- studies we may also include passages based on octaves,which however,

succession of single tones formed by the resolu tion of the octave into its two parts: i. e., broken
or arpeggio'd, octaves (a,) (b,)
(c.)

are not in the form of "solid" octaves, but of a

IT^
Basis.

M
in

II

e^i'

Jl l

So many such passages occur

early and re-

for this species of

essarj' to apply to

cent piano-compositions (Beethoven, Op. 22, first

octave-passage^ it is only ner broken octaves the rules for all

movement; Schumann, Finale of the G minor Sonata,

the preceding exercises.

The fingering goes

ac-

Op. 22; Liszt, Ballade

in

B minor), that
and exin

cording to the rules for playing solid octaves

most text -books take them

into account,

We

shall only remark, that such passages can bu

-

plain their execution. (An excellent

cxanipli'

most rapidl} and certainly mastered by execut

ing them with the "side-stroke."

dementi's "Gradus ad Parnassum',' N9 2S, Tausig

ed.)
It

(Compare"Pre-

liminary Remarks" to the Preparat()rv exercises,

appears superfluous

to add special

exercises

on page 2.)

-j,-^h^^

13S5S

Sll

ScHiRMER's Library
of Musical Classics
PIANO METHODS, STUDIES, AND EXERCISES
SERIES TWO
DORING,
L.651

\^

C. H.
Exercises and Studies in Staccato Octave-Playing.
8 Octave Studies.

Op. 24.
25.

L.1035 Op.

DUVERNOY,
L. 316

B.

U1292
L. 50

Op. 120. The School of Mechanism. 15 Studies preparatory to Czerny's "School of Velocity." (Klauser). Complete. Op. 120. The same: Bk. I. Op. 176. Ecole I'rimaire. 25 Elementary Studies.

GERMER,
L.1279

H.
Rhythmical Problems.

GURLITT,
L. 798 L. 801 L. 534

C.
24 Easy Melodious Studies. 24 Melodious Studies of Medium
Difficulty.

Op. 50. Op. 61. Op. 82. Op. 82. Op. 83. Op. 85. Op. 100. Op. 107. Op. Op. Op. Op.
117.
130.
131, 141,

The

First Steps of the

I.

Young Pianist

Bk.

U535
L.636 L.807 L.539 L.323
L, 324 L. 339 L. 206

The same: Bk. 11. The Easiest Studies

L.326

in Velocity. 24 Studies on Scales and Arpeggios. 24 Octave Studies. Buds and Blossoms. 12 Melodious Studies. The First Lessons. 35 Easy Studies without Octaves. 24 Melodious and Progressive Studies. School of Velocity. 24 Short Studies for

Beginners.

HABERBIER,

E.
Etudes- Poesies. (Ruthardt).
J.

UWl
L.299

Op. 53. Op. 59.

HANDROCK,
HANON,
L.92S
L. 1071

C. L.

L.1072 L.1073 L.1081

HELLER,
L. 179

S.
16.

Op.

L.180

t t

5.