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Muzio Clementi's

Introduction to the

Art of Playing
on the

Piano Forte

Mutopia
Project

Typeset using LilyPond 2014 by Javier Ruiz-Alma Mutopia-2014/02/18-1938


Creative Commons Attribution ShareAlike 4.0 International License free to distribute, modify, and perform

Acknowledgements for this edition


My gratitude to the LilyPond User Forum and the Mutopia Project, for making this project
possible; especially:
Nicolas Sceaux, Chris Sawer, Glen Larsen, Mats Bengtsson, Mike Solomon, Jakob Lund,
Janek Warcho, Keith OHara, Nick Payne, David Nalesnik, Reinhold Kainhofer,
David Kastrup, Shane Brandes, Xavier Scheuer, Eluze, Robin Bannister, Phil Holmes,
Thomas Morley, Federico Bruni, Felix Janda, Bas Wassink, and Edward Neeman.

Table of Contents
Music Notation
Preliminaries
3
Clefs
3
The Scale, or Gamut
4
Intervals
5
Tenor, Counter-tenor, and Soprano clefs explained
6
Figure, Length, and the relative Value of Notes and Rests
7
Time and its Divisions
8
Sharps, Flats, etc.
10
Various other marks.
12
Abbreviations
12
Style, Graces, and marks of Expression, etc.
14
Turns, Shakes, and Beats, explained
16
Major and Minor Modes or Keys; vulgarly called Sharp and Flat Keys. 19
Explanation of Various Terms
20

Fingering
Preliminary Directions
Scales in all the Major keys, with their relative Minors
General Remarks on the foregoing Scales
Extensions and Contractions etc.
Examples of fingering for the right hand.
The left hand.

22
22
27
27
28
31

Preludes and Lessons


Lesson I
Prelude in C Major
Away with melancholy: by Mozart
Lesson II
Aria
Lesson III
Air, in Atalanta, by Handel
Lesson IV
Air, in Saul, by Handel
Lesson V
Dead March, in Saul, by Handel
Lesson VI
Allegro by Corelli
Lesson VII
Prelude in A minor
Gavotta by Corelli
Lesson VIII
Prelude in F Major

32
32
33
33
34
36
38
41
41
42

Air, in Judas Maccabeus, by Handel


Lesson IX
March, in Judas Maccabeus, by Handel
Lesson X
Sarabanda, by Corelli
Lesson XI
Giga, by Corelli
Lesson XII
Arietta, by Mozart
Lesson XIII
Minuet and Trio, by Mozart
Lesson XIV
Le Rveilmatin, by Couperin
Lesson XV
Prelude in D minor
Larghetto, by Scarlatti
Lesson XVI
Allemanda, by Corelli
Lesson XVII
Sarabanda, by Corelli
Lesson XVIII
Prelude in G Major
Ah vous dirai - je maman
Lesson XIX
Triste Raison
Lesson XX
Fal, lal, la. Air in the Cherokee.
Lesson XXI
Larghetto, by Pleyel
Lesson XXII
Arietta
Lesson XXIII
German Hymn, with Variations by Pleyel
Lesson XXIV
Andantino, by Dussek
Lesson XXV
Allegro, by Handel
Lesson XXVI
Minuet in Samson, by Handel
Lesson XXVII
God Save the Emperor, composed by Dr. Haydn
Lesson XXVIII
Rondo in the Gipsy stile, by Dr. Haydn
Lesson XXIX
Prelude in E minor
Tambourin by Rameau
Lesson XXX
Prelude in B flat, Major
Minuetto by Scarlatti
Lesson XXXI
Lindor - an Air

42
43
45
46
48
49
51
55
55
57
59
60
60
61
62
63
64
66
69
71
73
75
76
83
83
86
86
88

Lesson XXXII
Minuet and Trio, By Mozart
Lesson XXXIII
Gavotta in Otho, by Handel
Lesson XXXIV
Andante with Variations, by Cramer
Lesson XXXV
Prelude in G minor
Allegro, by Scarlatti
Lesson XXXVI
Prelude in D Major
Gavotta, by Corelli
Lesson XXXVII
Minuet in Ariadne, by Handel
Lesson XXXVIII
March in the Occasional Oratorio, by Handel
Lesson XXXIX
Waltz, by Beethoven
Lesson XL
Allegro, by Corelli
Lesson XLI
Prelude in B minor
Giga, by Corelli
Lesson XLII
Prelude in E Flat Major
Rondo by C.P.E. Bach
Lesson XLIII
Prelude in C minor
Minuet, by Scarlatti
Lesson XLIV
Prelude in A Major
Andante Allegretto by Paradies.
Lesson XLV
Prelude in F# minor
Adagio by Corelli.
Lesson XLVI
Prelude in A flat Major
Slow March by Couperin.
Lesson XLVII
Prelude in F minor
Allegretto by Couperin
Lesson XLVIII
Prelude in E Major
Polonoise and Minuet, by Sebastian Bach
Lesson XLIX
Gavotta, by Corelli
Lesson L
Prelude in C# minor
Minuet, by Dr. Haydn

89
91
93
97
97
101
101
102
104
106
108
111
111
113
113
120
120
122
122
125
125
127
127
129
129
130
130
133
134
134

MUSIC NOTATION

PRELIMINARIES
All musical sounds are expressed by certain characters, called notes, which are named from the first seven
letters of the alphabet: A, B, C, D, E, F, G.
The Stave

contains five lines, and four spaces: the lowest line is called the first.

The notes are placed on the lines, or spaces above, or under the stave and the additional, called LEDGER
lines

are for the higher and lower notes.

CLEFS
In order to determine the PITCH of musical notes, certain signs, called CLEFS or CLIFFS have been invented,
which are set at the beginning of the staves.
There are five in general use.
The Bass clef, on the 4

th

line

The Tenor clef on the 4

The Counter-tenor clef on the 3 line


And the Treble clef on the 2

nd

line

th

line

The Soprano clef on the 1

The Treble and Bass clefs are chiefly used for the Piano Forte.

st

line

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

THE SCALE, OR GAMUT


Shewing the position, and name of the notes.

Treble

Bass






g a b c d e f g











abcde f gabcde f
f g a b c d e f g a b c d e f















g a b c d e f g


Let the PUPIL now strike the notes on the instrument; taking notice, that the first LONG key, on the left
hand, serves for the first F; the second LONG key for G; the third for A; and so on: making no other use, at
present, of the SHORT keys, than as GUIDES to direct the eye; by observing, that between B and C, and between
E and F, there are no SHORT keys; which places in the scale are distinguished thus
.

Remark on the foregoing Scale.


The first EIGHT notes in the treble-stave from G to G, are the SAME as the corresponding EIGHT notes,
perpendicularly under them in the bass-stave, both in NAME and SOUND ; they are played, therefore, on the
SAME keys.
As a help to memory; let the Pupil contemplate the notes, SEPARATELY, on the lines, and spaces; beginning
by the FIVE lines.
C E
E G
Bass
Treble
C
A
D
F A C E G B
F A
A C E G B D F

 
 



 
 






 
 



F
D F

Treble
Bass
D
B


G
B
C

A

G B D F
C 
E 
G B D F A  E G 



 



 
 

 






 
  








 
 
  






Exercise for treble notes:

     

 

   
    

          
     

 



Exercise for bassnotes:

  





N.B. Let the Pupil FIRST be familiarized with the notes, by READILY naming them; and then find them out as
on the instrument.

READILY

MUSIC NOTATION

INTERVALS
An INTERVAL is the distance, or difference between two sounds in point of GAVITY or ACUTENESS.
The least of our INTERVALS is called a semitone, or half-tone: it is the INTERVAL, in the NATURAL scale,
between E and F; and between B and C.
Ex:


  

E F B C
The REGULAR progression of the OTHER notes in the NATURAL, which is also called DIATONIC scale, is by an
INTERVAL of two semitones or a whole note.
Example of the NATURAL or DIATONIC scale.


whole
tone

 whole

tone

tone

tone

tone

 whole

 whole

 semi-

whole
tone

semitone

The INTERVAL between C and D, between D and E, or between any two CONTIGUOUS notes, in the scale, is
call a SECOND: the INTERVAL between C and E, or between D and F, etc: is called a THIRD; and so on.
Example of INTERVALS

The INTERVAL of an 8

3
th

th

th

th

th

th

is commonly called an OCTAVE.

N.B. The nature, and name of the INTERVALS remain the same, whether the single notes be played
two, or more, be struck TOGETHER: the former is properly called MELODY; and the

SUCCESSIVELY, or whether
latter, HARMONY.

Example of the latter.-

    
 


The notes thus taken TOGETHER are also called CHORDS; the succession of which, played from certain
figures set over a bass, according to a system of rules, is denominated THOROUGH-BASS.

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

TENOR, COUNTER-TENOR, AND SOPRANO CLEFS EXPLAINED


The notes
written thus:

are played as if
written thus:

      



 






 
c
d e f g a b c d e f g e f d b g a b c

      


Bass

   
     
Tenor

         








  
c d e f g a b c d e f g e c f d b d b g c
         


Bass

 
     
Counter-tenor

when written thus:

are played thus:

    



  
  



  

c d e f g a b c d e f g a f d b g f d b c

Treble
   




  
       
  
Soprano

when written thus:

are played thus:

By which it is evident, that the Tenor-notes must be played one fifth HIGHER than the Bass-notes: the
Counter-tenor notes, one seventh HIGHER than the Bass-notes: and the Soprano-notes, one third LOWER than
the Treble-notes.
It is now proper to take notice, that the bass-clef is also called the F-Clef, as it indicates by its position
F
the tenor, counter-tenor, and soprano-clefs are called C-clefs, because
where the note F lies:

Tenor:
they determine the place of C:

Counter-t:

C
G-clef, being placed on the line where G is found

C
Treble:

 

Soprano:

and the treble-clef is called the

MUSIC NOTATION

FIGURE, LENGTH, AND THE RELATIVE VALUE OF NOTES AND RESTS


Notes

Rests

Semibreve,

minim,

crotchet,

4 Crotchets




quaver,

semiquaver,

One Semibreve
2 Minims

demi-semi-quaver

Is equal in length
of time to
Which are equal to

Which are equal to

       





8 Quavers
16 semi-quavers
32 demisemiquavers

A DOT after a note, or rest, makes the note or rest half as long again. Ex:



Which are equal to

Which are equal to

is equal to a minim and a

is equal to
and so on: by which it is evident, that the DOT
crotchet; or to three crotchets, and so on:
to a minim is equal to a crotchet; and the DOT to a crotchet is equal to a quaver; etc: When a second dot is
added to the first, the second dot is considered as the half of the first; therefore a double-dotted Crotchet thus



is equal to a crotchet, quaver, and semiquaver; or to seven semiquavers.

Let us farther illustrate this by the mark, called a TIE, made thus

which, when placed between two



 

notes of the SAME pitch, binds the second to the first; so that only the first is struck, but the finger must be
held down the full length of both. It is therefore indifferent whether we write thus

  

and



is the same in effect as

  

or

or

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

TIME AND ITS DIVISIONS

The BAR, made thus

divides a musical composition into EQUAL portions of time.

TIME is divided into two sorts; COMMON and TRIPLE; and of which is either SIMPLE or COMPOUND: and the
character or sign, which denotes it, is placed at the beginning of every composition, after the clef.
SIMPLE common time, when marked thus

 

or

denotes, that each bar contains one

semibreve, or its equivalent.

Example

 

or



    

the bar contains one minim, or its equivalent.


 42
 42             

When marked thus

Example

Four sorts of COMPOUND common time explained:


st

1 sort
d

2 sort
d

3 sort
th

4 sort


 12
8
 86  

 12
4
 46  







        

     

      
     

containing 12 quavers in a
bar, or their equivalent
six quavers in a bar, or
their equivalent
12 crotchets in a bar, etc.

6 crotchets in a bar, etc.

The two last sorts are very seldom used in modern music.
SIMPLE triple time explained.

 23  
 43 
 83 



  

   





three minims in a bar,


or their equivalent
three Crotchets in
a bar, etc:
three quavers in
a bar, etc:

MUSIC NOTATION

COMPOUND triple time explained.

 49              
 89             

nine crotchets in
a bar, etc:
nine quavers in
a bar, etc:

COMPOUND triple time is seldom used in modern music.


N.B. The contents of every bar, in common time; whether SIMPLE, or COMPOUND, may be divided, (by
beating or counting) into four, or into two equal parts: and in triple time; whether simple, or COMPOUND, into
three equal parts.
The figures, which mark the time, have a reference to the SEMIBREVE; the LOWER number, showing into how
many parts the SEMIBREVE is divided; and the UPPER number, how many of such parts are taken to fill up a
2 denotes, that the SEMIBREVE is divided into four parts, namely, four crotchets; and that
bar. For example 4
two of them are taken for each bar: likewise 83 indicates, that the SEMIBREVE is divided into eight parts,
namely, eight quavers; and that three of them are adopted to compleat a bar.
The figure of 3 placed over three crotchets, quavers or semiquavers
thus

 3   3 

or

 3  3

or

 3  3

(which are called triplets) denotes,

that the three crotchets must be performed within the time of two common crotchets, or of one minim; the
three quavers within the time of two common quavers, or of one crotchet; and the three semiquavers within
the time of two common semiquavers, or of one quaver.
N.B. The easiest way is to consider them all as three to one, and to beat or count the time accordingly; that
is, to beat the first of every 3. (N.B. SCARLATTI, and others have written three demisemiquavers to a quaver;
and three semiquavers to a crotchet in some of their pieces.) The figure of 6 over quavers or semiquavers,
means that they are to be performed within the time of four of the same kind; which is a similar case to the
preceding one. The figures 5, 7, 9, 10 etc. follow the same rule.

10

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

SHARPS, FLATS, ETC.

The SHARP placed before a note, raises it a semitone or half-tone. Let us now observe a scale of semitones,
called the CHROMATIC scale.

Ex:

 
      







The intervals of the contiguous


notes are all semitones.

N.B. The LONG keys of the Piano-Forte, or Harpsichord, are commonly called the NATURAL keys, tho'they
ocassionally serve for SHARPS and FLATS; and the SHORT keys, are called SHARPS and FLATS, being only used
for SHARP and FLAT notes.
Now if a

SHARP

be placed before C, thus:

 

the note is called C

SHARP;

and it is found on the

instrument between C NATURAL, and D NATURAL; being one of the SHORT keys: D SHARP is the SHORT key
between D, and E; but between E, and F, ther is no SHORT key; nor is it wanted: for the INTERVAL between E
and F, is but a semitone; and therefore when we want E SHARP, we strike the key generally called F NATURAL.
F SHARP will be found between F NATURAL, and G NATURAL: G SHARP between G and A NATURAL: A SHARP
between A and B NATURAL: and B SHARP is under the same predicament as E SHARP; we therefore strike C
NATURAL for it.
The flat placed before a note, lowers it a semitone or half-tone: and if the note is a B, to which the FLAT is
prefixed, it is then called B FLAT; and it is found between B NATURAL, and A NATURAL, being one of the SHORT
keys.
=====General rule: every FLAT is found by going one semitone LOWER; that is, toward the left-hand: and
every SHARP, contrariwise, by going one semitone HIGHER; that is, toward the right-hand.
The double SHARP raises the note TWO semitones; and therefore, if it be F double SHARP, we strike G
NATURAL; etc.
The double FLAT lowers the note TWO semitones; and therefore, we go as much to the LEFT for a double
FLAT, as we did to the RIGHT for a double SHARP.
The NATURAL takes away the effect of a SHARP, or a FLAT; whether single, or double. And
, or
,
REINSTATES the single sharp, or flat.

The Pupil must by this time have observed, that

 

by the SAME key as

 

 



is struck by the SAME key as

 



and

etc.

Now, the inconveniency of charging to memory with the VARIOUS uses of the SAME keys, is but small; when
compared with the impracticableness of performing on an instrument, furnished with keys, PERFECTLY
corresponding with every flat, and sharp, single or double, which composition may require: a method
therefore, has been adopted in tuning, called TEMPERAMENT, which, by a small deviation from the truth of
every interval, EXCEPT THE OCTAVE , renders the instrument capable of satisfying the ear in EVERY key.
When a SHARP is placed close to the clef thus

it affects every F throughout the piece; except

where the sharp is contradicted by the natural.


N.B. The same rule holds, when there are two or more sharps at the clef; every one affecting its
corresponding note.

MUSIC NOTATION

When a FLAT is placed by the clef



11

it affects every B throughout the piece; except where the flat

is contradicted by the natural.


N.B. The same rule holds, when there are two or more flats at the clef; every one affecting its corresponding
note.
When a sharp, flat, or natural is prefixed to a note, in the course of a piece, it affects all the following notes
of the SAME NAME , contained in the SAME BAR : it is then called an ACCIDENTAL sharp, flat, or natural.

st

Ex:

2 Ex:

       

is played as if written thus

        


Ex: 

as if written thus

           


as if written thus

       

        

             




which abbreviations, are a modern improvement.


The foregoing RULE extends even to the first note of the subsequent bar, when the affected note is the last of
one, and first of the next.

Ex:

            

as if written thus

             

And the same with flats and naturals.


The order of SHARPS
at the clef.
The order of FLATS
at the clef.





















th

descending by a 4 and
th
ascending by a 5
th

ascending by a 4 and
th
descending by a 5

12

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE



The pause
expects some
AT PLEASURE,

VARIOUS OTHER MARKS.




or

renders the NOTE longer AT PLEASURE ; and in certain cases, the composer

EMBELLISHMENTS

from the performer; but the pause on a rest

the SILENCE.




only lengthens,

The SIGN or REPEAT


is a reference to a passage, or strain, to which the performer is to return: the Italian
words, AL SEGNO or DAL SEGNO , denote such a return.
marks the end of a strain; or the conclusion of a piece.

The double bar


The DOTTED bars

 

denote the repeat of the foregoing, and following strain.

N.B. The second part of a piece, if VERY LONG, is seldom repeated; notwithstanding the DOTS.



When the bars are marked thus


is to be repeated.



or

then the strain, only on the side of the DOTS

ABBREVIATIONS

 

Ex:

Ex:

Ex:

Ex:

Ex:



to be played thus




Ex:

thus



 

3 
 

   

    
thus

 




thus

thus

6 



 

3 
3 


       



    

6     6   




thus

played thus

Ex:

thus






Ex:

       
       






       
        

MUSIC NOTATION

The

ITALIAN

 





Ex:

word, Segue; means, it continues, or follows:

segue

Tremando, or trembling:

Ex:



 




thus

thus

        



       
       
        

13

14

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

STYLE, GRACES, AND MARKS OF EXPRESSION, ETC.

 




The best general rule, is to keep down the keys of the instrument, the FULL LENGTH of very note; for when
the contrary is required, the notes are marked either thus:

 




called in ITALIAN, STACCATO;

denoting DISTINCTNESS, and SHORTNESS of sound; which is produced by lifting the finger up, as soon as it has
struck the key: or they are marked thus

  




which, when composers are EXACT in their writing,

means LESS staccato than the preceding mark; the finger, therefore, is kept down somewhat longer: or thus
which means STILL LESS staccato: the nice degrees of MORE and LESS, however, depend on


  

the CHARACTER, and PASSION of the piece; the STYLE of which must be WELL OBSERVED by the performer. The
notes marked thus

called

LEGATO

in Italian, must be played in a

SMOOTH

and

CLOSE

manner; which is done by keeping down the first key, 'till the next is struck; by which means, the strings
VIBRATE SWEETLY into one another.
N.B. When the composer leaves the LEGATO, and STACCATO to the performer's taste; the best rule is, to
adhere chiefly to the LEGATO; reserving the STACCATO to give SPIRIT occasionally to certain passages, and to
set off the HIGHER BEAUTIES of the LEGATO.
This mark




 
  

prefixed to a chord

signifies, that the notes must be played SUCCESSIVELY, from

the lowest; with more or less velocity, as the sentiment may require; keeping each note DOWN 'till the time of
the chord be filled up.
Chords marked thus


 




are played as the preceding chords, with the addition of a note

WHERE the oblique line is put, as if written thus

down.

p,


  

 
 

but the additional note is not to be kept

Dolce or dol: means SWEET, with TASTE; now and then SWELLING some notes.
Piano or Pia: or
SOFT.
Mezzo, or mez: or mezzo-piano, or poco or poc:P, RATHER SOFT.
mo
Pianissimo, or P
or
VERY SOFT.
mo
or
VERY LOUD.
Fortissimo, or F
Forte, or For: or , LOUD.
Mezzo , or Mez: , RATHER LOUD.

pp,
ff,

p,

MUSIC NOTATION

15

fz, sf

Forzando, or sforzando
or , to FORCE, or give emphasis to, ONE note.
Rinforzando, or rinf: to SWELL 2, 3, or 4 notes.
Crescendo, or cres: marked sometimes thus
means GRADUALLY LOUDER.
Decrescendo, or decres: GRADUALLY SOFTER; the same as the following; viz:
GRADUALLY SOFTER. N.B. this last mark
Diminuendo, or dim: thus
where it is WIDEST, and then DIMINISHING.

often denotes an

EMPHASIS,

This mark

means to SWELL and DIMINISH.

ARPEGGIO, or ARPEGGIATO, requires that the notes of a CHORD shall be played successively; which may be
done in various ways.

   
Ex:     
Arp:

or

        


 

thus 

 

         
va

or

or
thus

 

         

or
thus

       
 
  
   
 
        

va

OTTAVA, All'8 , 8 alta, set over a passage, means that the notes are to be played an octave higher: and
LOCO, that the notes are to be played again as they are written.
The APPOGGIATURA is a GRACE prefixed to a note, which is always played LEGATO, and with more or less
EMPHASIS; being derived from the ITALIAN verb APPROGGIARE, to lean upon; and it is written in a SMALL note.
Its LENGTH is borrowed from the following LARGE note; and in GENERAL, it is half of its duration; MORE or LESS,
however, according to the EXPRESSION of the passage.

APPOGGIATURAS, and other GRACES in small notes explained.


 




or

or

    

thus

to be play-ed thus

 


  

 

 



thus



 

     
      

thus

or

with spirit



 



played thus

thus

thus

 


 




  
or thus




as taste best directs in the passage.

Sometimes

 

played thus

      
 




16

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

Sometimes the little notes are added to give EMPHASIS:



Example

 












played thus

N.B. the finger or thumb must be taken off immediately from the LOWER notes.

Ex:

 







 


thus

played
thus


     3 
 

thus

  



 

    


but
sometimes

thus

 

                 

th:


   

expressively
thus


 

    

thus

Ex: in double notes


TURNS, SHAKES, AND BEATS, EXPLAINED

 3   
thus


note and turn
The plain

or

Inverted turns




thus

  3  


or

!


    

thus

The dotted
note turned


   

thus

   
3

N.B. The LOWEST note of EVERY sort of turn is MOSTLY a semitone:



thus

  3   

thus

   3    

 



It is sometimes writ_ten in small notes



 3   

played thus

The Turn





  or 

thus

  3   

MUSIC NOTATION


 

    

-ble notes

Shake.

thus

$$
 

Short shake
beginning by the
note itself.

Transient
or passing
shakes

Turned
Shake.

played
thus

$$
 


$$ $$

 

&



or

$$


   

%
  % 

or

$$


or

played
thus

       

#
Some Authors 
3

thus

mark it thus

-pressed in small
notes.

and sometimes
turned thus

&

thus

Sometimes ex-



& '''''''       
 
        
Continued

thus
shake.

$$

   
thus

#


  3   

thus

played thus

or

"
  thus          

     

or

Ex: in dou-

thus

Ex: 2

st

 3   


Ex: 1



17

  


 

       

Prepared shake

 6     6  

thus

The shake LEGATO with the preceding note, explained:

                      3  

thus

or thus

&

           3  
thus

N.B. The GENERAL mark for the shake is this


and composers trust CHIEFLY to the taste and judgement of
the performer, whether it shall be long, short, transient, or turned.

The

$ $ (

or
BEAT 

thus

      or  3   or      or    or    

The LENGTH of the BEAT is determined, like that of the other graces, by the circumstances of the passage.

18

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

N.B. When the note preceding the beat is an interval of a


semitone or a whole tone:

Ex:

(


played
thus

  

SECOND,

let the beat adopt it, whether it be a

 

(


thus

  

But when the beat, is on the FIRST note of a passage, or, when it follows a note, whose interval is GREATER
than a SECOND, it should be made with a semitone; as the following examples will show.

Examples

(  

thus

      

(

 

Lastly, let us remark, that the beat is seldom used in modern music.

thus

     

MUSIC NOTATION

19

MAJOR AND MINOR MODES OR KEYS; VULGARLY CALLED SHARP AND FLAT KEYS.
The FUNDAMENTAL note, called the TONIC or KEY-NOTE, of a composition is either in the
mode. An exposition of the scale in each MODE, will best explain their essential difference.

MAJOR,

or

MINOR

      




  
 

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

Keynote

Ascending and
descending scale
in the key of

C, MAJOR.

Keynote

N.B. The intervals in THIS scale are in their SIMPLE state; but in the following, they are an octave higher,
d
d
th
and are called COMPOUND intervals; still retaining their names of 2 , 3 , 4 , etc: as in their SIMPLE state.
The figure 1, stands for a note of the same pitch, called UNISON: this last remark is confined to the foregoing
example.

Ascending and
descending scale
in the key of

A,

MINOR.

Key    







  note

   
Keynote

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

The first DIFFERENCE, which strikes the eye, is, that in the MAJOR-KEY , the semitone lies between the 3 and
th
th
th
4 , and between the 7 and 8 both ascending, and descending: whereas in the MINOR-KEY , it lies between
d
d
th
th
d
d
the 2 and 3 , and between the 7 and 8 ascending; but in descending, between the 2 and 3 and between
th
th
th
th
the 5 and 6 . Authors vary, however, in regard to the 6 and 7 of the MINOR mode.
The ESSENTIAL and IMMUTABLE difference, therefore, between the MAJOR and MINOR key, is the interval of
d
d
the 3 , which differs by a SEMITONE; for if we analyse the 3 in the MAJOR-SCALE, it will be found to contain
two whole tones; or four semitones:

Ex:

3d

whole
whole
 tone  tone 

Whereas the 3 in the


semitones.

Example

3d

 

MINOR

whole
tone

or

semisemi- 
 semi semitone   tone
tone   tone

-scale, will be found to contain one whole tone with a semitone; or three

semi
tone

3

or

semitone



semitone

semitone

3

Now, the LAST, and if a chord, the LOWEST note of the bass, in every REGULAR composition, is the KEY-NOTE ;
d
let the contents then of the first FULL bar be examined, (treble and bass); where, if the 3 be major, the piece is
said to be in SUCH a key major.

20

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

Example of a conclusion:

Example of the beginning


of the same piece:


     

    
 


3
 
 4

3   
4

      

Example of
A

A MINOR

 
ending.



Example
of the beginning

the LAST and LOWEST


note of the bass is F.

the 3 of F, which is A in the


first FULL bar, is MAJOR:
therefore the piece is in F
MAJOR




2
 4 

2   
4

here the 3 of A
is MINOR, the
piece is therefore in A MINOR

N.B. Sometimes a composition in the MINOR mode may have a MAJOR ending; for which reason, it is safer to
examine the beginning, in order to determine the MODE.
Let the Pupil remember, that the NATURAL major-key is C; and the NATURAL minor-key is A; which latter is
called the RELATIVE MINOR to the former; and that every MAJOR-KEY has its RELATIVE MINOR in the same
proportion, namely one tone and semitone UNDER; as will be shown in the collection of scales.
EXPLANATION OF VARIOUS TERMS
The DEGREE of velocity in every composition is ascertained by some ITALIAN word or words prefixed to it: as
ADAGIO, POCO ALLEGRO , etc. We shall annex a list of the terms mostly in use; beginning by the SLOWEST
degree, which is ADAGIO; and gradually proceeding to the QUICKEST, which is PRESTISSIMO.
_______________________________________
1
2
3
4
5

ADAGIO
GRAVE
LARGO
LENTO
LARGHETTO

6
7
8
9
10

ANDANTINO
ANDANTE
ALLEGRETTO
MODERATO
TEMPO GIUSTO

11
12
13
14
15

MAESTOSO
CON COMMODO
ALLEGRO
VIVACE
CON SPIRITO

16
17
18
19
20

SPIRITOSO
CON BRIO
CON FUOCO
PRESTO
PRESTISSIMO

Various other terms are sometimes added to the preceding, in order to MODIFY or extend their meaning, as:
NON TROPPO ALLEGRO , not too quick etc.
We shall subjoin some of the most common, with their explanation.
MOLTO, DI MOLTO , or ASSAI, very. NON TROPPO , not too much. UN POCO , a little. QUASI , almost. PI,
more. MENO, less. PI TOSTO, rather. SEMPRE, always. MA, but. CON, with. SENZA, without.
MINUETTO A TEMPO DI BALLO, dancing-minuet time.
To determine more particularly the style of performing, some of the following terms are also used: MESTO,
or FLEBILE, in a melancholy style. CANTABILE, in a singing and graceful manner. AFFETTUOSO, in an
affecting and tender manner. GRAZIOSO, in a graceful and elegant manner. CON MOTO, with a certain
degree of vivacity. BRILLANTE, with brilliancy and spirit. AGGITATO, agitated; with passion and fire.
CON ESPRESSIONE, or CON ANIMA, with expression; that is, with passionate feeling; where every note has its
peculiar force and energy; and where even the severity of time may be relaxed for extraordinary effects.
SCHERZANDO, in playful and light manner. SOSTENUTO, to sustain, or hold on, the notes their full length.
TENUTO, or abbreviated thus, TEN: to hold a note its full length. A TEMPO, in strict time. AD LIBITUM, at
pleasure or discretion, with regard to time; introducing in certain cases an embelishment. TEMPO PRIMO, or
PRIMO TEMPO, in the original time. RALLENTANDO or RITARDANDO, gradually slackening the time.

MUSIC NOTATION

21

SMORZANDO, MORENDO or PERDENDOSI, extinguishing gradually the sound, 'till it be almost lost.
CALANDO, or MANCANDO, diminishing by degrees the sound, or slackening almost imperceptibly the time; or
both. DA CAPO, abbreviated thus: D.C., to return to, and end with, the first strain. VOLTI SUBITO or V.S.
turn over quickly. The LATIN word BIS, means TWICE; it is generally placed over a passage within a curve line,
which denotes the extent of the repeat.

FINGERING
To produce the BEST EFFECT, by the EASIEST MEANS, is the great basis of the art of fingering. The EFFECT,
being of the highest importance, is FIRST consulted; the WAY to accomplish it is then devised; and THAT MODE
of fingering is PREFERRED which gives the BEST EFFECT, tho' not always the easiest to the performer. But the
combinations of notes being almost infinite, the art of fingering will best be taught by examples.
PRELIMINARY DIRECTIONS
The hand and arm should be held in a horizontal position; neither depressing nor raising the wrist: the seat
should therefore be adjusted accordingly. The fingers and thumb should be placed over the keys, always
ready to strike; bending the fingers in, more or less in proportion to their length. All unnecessary motion
must be avoided.
Let the pupil now begin to practise, SLOWLY at first, the following passage; observing to keep down the first
key 'till the second has been struck, and so on.
The 1 is for the thumb, and 2, 3, 4, 5, for the succeeding fingers.
Right
Hand
Left
Hand

1 2 3 4 5 4 3 2 1 2 3 4 5 4 3 2 1

 
  and so on, a great many times.

 42
2 5 4 3 2 1 2 3 4 5 etc. N.B. Let every note be played even, in
regard to time; and with equal strength.
4

SCALES IN ALL THE MAJOR KEYS, WITH THEIR RELATIVE MINORS


which ought to be practised daily.

    3 2 1 3 2 1 4 3 2 1 3 2 1





  

 Left Hand
1
4 1 2 3
5 4 3 2 1 3 2 1 4 3 2 1 3 2  2 3 1 2 3
1 2 3 4 5















Right Hand 2 3 4 1
3 4 5 4
1 2 3 1
2 3 1 2

C major

5
4

3

    3














  






1
3     2 3 1



   






 4





1
 4 3 2 1 3
1
1 2 3 1 2

A minor

FINGERING

5 4 3 2 1 3 2 1 4 3 2 1 3 2 1

 

















3     1

1


4


3
  1  

 








G major

1 2 3 1

5
1         3
3

1  
4

 1







 



1

3

1
4            1  
1
5
 












 3

1

E minor

5


    3


1   
 
  4 






   1
3
1

1
3

1


4




 









3
1
1
1

D major

B minor

1     



  





3
4  

 


  




 4
 


A major

4
5       3
3



1  2    1


1

1
4

5
4

3

    3














3  1 

 1  
 




  4




1
3

1

 


F minor

1 2 3 2 1 3 2
1
3

2
1
   1  4 3 2 1 3 2 1 2









 43     
 

2
3
4   1  1  

    
 3






    
4 
1
1
4
4
5

23

24

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

5


    3


3
1   
4
1

  1













3  1   1

4

1


 









3
1
1

E major

1 4
2 1 3
3
1
2

 2 3 1








3









4 
  

3 2 3 1
 3




    
4          3
   
1
4
1
1
2
3
3
3 4
3
2
1

C minor

B major

4
5    3

3
1








 
 







3
4    1  
4


 1  
  



   
  




1
 3 2 1 4
1

 
 

G minor

1     4
3 1
3
    3
2
 3 2     1  2   



   
 4 

3 2 3
3 2 1 4 3 2 1 3      1 
1
1
4
3



 3








4 
  


4
  3 2 3 4 1   1              
  
  4 

3 2 3 1
1

4
3
4

 1



  3

 4 
  

  3 2 1
  4 

  3 3 1
 4 

3
1 2

F major

D minor

4 3
3 2 1
4 3 2
1 3

4
1      1 3
2 1
2













  
3
1
4
4   
1
1 3 4
3










    
   
  
1

FINGERING

4
1       3
3
2

 3

   4




    
 4 

1
3
3 2 1 4
4     1
1

  3







4      
  

2 3 1

D major

B minor

25


   


1

  






1

        3






2
    3  4 1 


  











1
 1 3  4

1
1
2 1

4 3 2

5


3





  











 

4
31 1
3

1
3 2
2
3     1
1



  













3
4
 
1
4
1
1

A major

5    1 3


2
1

    4

3







    
  4 
1
1
2 1   1


1 3
4






  3
    
 4       
  
1

F minor

  1 4




   3  4
1
2


  












2 1   1

4


    1

 




 

3
1
2 1 4
3 4 3
1 2 3 2

2 1

E major

26

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

3
2
1
5 4   4

 3













 4 
 

  
4
1  2 1

 3

    






4

   

 
1
 4   3
1
1

C minor

4
1       3
4
3
2


















2
1
1
4
 1












3
1
 2 1 4

1 2
1

2 1

B major

5    4


1

2
    3
 3         

    
 4 
 2 1   1
1

4

5
3
5








 3





   
4 
1

G minor

3 1
2




 1 4   3
4
1    
1
1




  

1

3     1
1
    1
5
3
4    
5








 

3 4 45 4
3
3
2
1

F major

D minor

  43
3
4

5

3
2
1

 4











 

  
1
2 1
3
5
4
5






     1





  


1

N.B. All the preceding Scales should be extended, in practising, 2 or 3 octaves more, as likewise

the Scale of semi-tones for the


right hand:

1 2 3 1 2 3 4 3 2 1 3 2
        etc.
   












   1  2       
1

2 3

4 1 2

3 1

2 1 2

3 1

2 3

FINGERING

and for the


left hand.

3 2 1


   1        
5

4 3

2 1

2 1

3 2         2  3  1  2 3 4 1 2





   

   
3 2 1

2 1

4 3

2 1

2 1

2 1

1 3

27

etc.

N.B. The semitones are to be fingered in the same way, ascending and descending.
GENERAL REMARKS ON THE FOREGOING SCALES
th

The right hand has the thumb on the KEY-NOTE or TONIC, and on the 4 of the KEY-NOTE, in the following
MAJOR and MINOR keys: C, G, D, A, E, and B.
In all MAJOR keys with one or more flats, the thumb is put on C, and F.
th
The left hand has the thumb on the KEY-NOTE, and on the 5 of the KEY, in the following MAJOR and MINOR
keys: F, C, G, D, A, and E.
d
th
In the MAJOR keys of B , E , A and D , the thumb is put on the 3 and 7 of the key.

  

EXTENSIONS AND CONTRACTIONS ETC.

 
1

R.H.

L.H.

5
5 4 1 





5 1 5

1 1

) 5 
d
L.H.

5 1

1

5
 "

1

R.H.

5 4 1 5

 

  
1

R.H.

5 1

5

51

th

N.B. The
5 1 means that after striking C with the 5 finger, the thumb is shifted on the key without striking
it.
In a similar manner the left hand thus:

15 
5" 
 1

Which mode of fingering should be much practised in various ways, the LEGATO-STYLE requiring it very
frequently.
The shakes should be practised with every finger, not excluding the thumb; and upon the short as well as
long keys.

28

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

EXAMPLES OF FINGERING FOR THE RIGHT HAND.

5 4 3 3 2 2 1


4 3 2 3 2 3 2



But when the notes re-peat too quick for the


same finger, it is then
necessary to change.

4 3 4 3 2 1 4 3 2 1 4


   




 












5
3 5 3 1 3 5 3 1 3 5 3 1
3   3 1 3 5 3 1 3 5 3 1
3 2 3 4 3 2 3 4 3 2 3  4 3 2 3 4


 

      
     

         


3 2 3 2 3 2 3 2 3
2 1 2 1 2 1 2 1 2

3 43 2 43 2
2 3 2 1 3 2 1

5
4

4
43 2 1 43 2 1 43 2 1 4 4 3 3 2 3 43 2 3 43 2 3 43 2

2 42 42
2 43
1 2 1 4 2 1 2 4 3 2 3 5 3 2 3 5 1 3 1 3 1 3 1 3
1 32




























   









 
  
42 4

212 4212 4212 4212 4







31 3 1 32

   





  
2 41 31 32 41

  


   


  
  

1 3
1 32 41 3

5342

2 3 4 2 3 4 2 3 4 2 23 43
1 2 3 1 2 3 1 2 3 1

3142
3131

5


        






      
4
4 3
5
5
3 2 1 2 4 3 2 1 4 3 2 1 4  3 2 1  3 2 1 2 4 3 2 1 4 3 2 1       2   4 3 2 5 4 3 2 5 4 3 2 5 1





   





  
  
    













1 2 3 1 2 3 2 3 4 1 2 3 1 2 3

2 3 2 3 4 3

4 3 2 1 4 3

2 1 4 3

2 1 4 3 2 1

 3 2 1 2 5 3 2 1 2 5 4 3 2 1  22 11 23 43 45 43 23 11 22 22 11 23  43  4 43 23 11 22



                        


5

5
1
3 4 3 2 1

3 4 3 2 1 2 3  2 3    2 1 2 1 2   3 2 1 2
1 4 3 2 1 4 3 2 1 2
        





   


 





  
3 5

1 2 3 4 1 2 3 4 5

5 4 3

5 4

1 3
5
2 3
1 2
2 1
1 2
1 3 2 3 5 4
1


  





















&

   &   

 

1 2 5

3 2

 1 3 5 1 2 3 5 1 2 3 5 1 5 2 1 5 4 2 1 5 4 2 1 5 4





        

  








&


&   
 
5
5
5
1 3 5 2 3 5 2 3 5 1 3
1 3
2 3

5
4  4
3 2   3 2 1

2
2
1
2
1


        
                            
1 5 4 5 3 5 2 51 51 51 51 5

2 1 3 2

5 3
2 1 4 1 3 2 5 3 2 1

4 1

FINGERING

29

4
4
3 5
5

                  1 2 3  1 2   1 2   1 2 3 5 1 2 4 5 1 2 4 5 1 2 4 5 1 2 
  


  
   
2

5 4
1 42
2 1 2 1 3 2

3
5
 
1 2 3 5 1 2 3  1 2 4 1 2 

                                    


    
4 2 1 2 1 2 3 51 2 3

4 5
1 2

   




 
 
1 2 3

5 4 3
1   2


1 5 3 2

 

5 1



  








2 3 5 1 2 4 5 1



5
3 


      

5
5 4 3
1 4
2 1 2 1 2 3

3 5

2 3 5

5
5
5
5
1 2 3
51 2 4 5 1 2 3 1 2 4 1 2 4 51 2 3

5
5

3 2 3
1 4 5 4

4
3

2
2
2142 1
1
2
1
3
2
1
  1 2 1 3 2 3 5 3 2










 






  






1
1 2 3 2 3

4 2  4 2
1 3
4 5
4

5

2
3 2 1 2 1 4 2 5 1 3 2 1   1 4 3 2 1 4 3 2 1 3 1 3 1 4 2 5 1 2 1 3 2 5 1 4  2 5 1  
 

 
 

       
    

   
5

5 2 3 1 5 2 4 1 5 2 4 1 2 5 1 4 1 4 2 5 1  4 2 5  4 5  2  5 2  4 1 4 1 5 2 4 1  4 5  2  4 1 4 1 5 2 5 2 4 1
  
   
   
 









   

5
5
4    2 5  2  4 2 41 5 2 5 2 1  2  3 4  4 3  2 1 2  3  4  5 4 3 2 1 2  3 4  5 4 3 2 1 2  3  4  5 4 3 2
  
 
   



 
bis

      1 2  3  4   




  
 
5
1 2 3 4

bis

5 1 5 1 5
1 5 1

bis

1 5 1
1 5 1

4 1 5 1
5 1 5 1

bis

bis

bis

downward 9 or 10 bars longer, keeping down the thumb


& and every finger as long as possible; being one of the best
exercises for opening the hand.

4 1 5 1 55
5 1 5 1

             
             
5
1

5
1

5
1

5
1

But when

wanted
legato, thus:

   
   
4
1

5-4 5-4
1 1

5
1

30

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

                 












      
              


5
5
3 4 53 31 4 5 3 4 5 4 3 5 42 31 5 4 3 2 3 42 3 2 3 42 3 2
3
1
11
3
12
2
2312 213
1 1
1

42


1 











                     

3 4 5 4 3 4 5 4 3 3 5 3 5 4 25
2 13121312 12121

                             




5
3 4 53 4 3 4 3 4 3 4 5 4 3 3 4 5 3 42 3 42 3 53 4 3 5 4 3 4 3
1 2 1 3 2 1 2 1
1 2 2 1 2 1 2 1 2 3 2 1 1 2 3 1

Staccato
3 3 3 3 3
1 1 1 1 1

  



     

5
32
1

4 25
1

or
thus:
4 4 4 4 4
2 2 2 2 2

  



     

4 3 4 3
3 5 4 3 4 5 3
3
3
3 4 5 4 3 4 3
                 2 1 2 1 2  2  2 1 3 2 1 2 3 1 2  2 3 2 1 2 1
  
  

5
5 4 5
5
1 4 1 4 1 2 1 42 5
2
1
2

4 5 41 5 4 5 4
2 1 2 1
1 2

4 5 4 5 4

4 5

legato

legato

5
1

3
1

2
1

5
1

  

  

 


3
1

5
1




 


2
1




4 2 4 2 4 2
1 5 1 5 1 5 3 5 3 5 3 5
1 2 1 2 1 2








 

                     


3 5 4 5 4 5 3
1 2 1 2 1 2 1

3 2 31 53 42 13 21 5 42 31 53 42 3 2 5 4 3 4 5 2 31 42 53 42 3 2 5 2 3


4 3 4 3 4 53 4 3 5 4 3 2 5 4 3 4 3
1 1 3 1 1
    3   1 1 3 2 1 2 3 1

 1 2 1 2 1  2 1 3 2 1 1 3 2 1 2 1

       
      


                
5 4

4 5
     4- 5  4- 5 4 5
4 5
   


                

2
1
2-1
5

4 - 5 4-

5 5
4 4

1-2

5
3

2 3 4
1 1 2

           5
      

  
1

4 4
1 2

1 4
2

2
1

  




   2 1 2 1
21 21
2 3
3

43 43 43

43 43 4

21

FINGERING

31

THE LEFT HAND.

2
3 1 3 1 3 1 3 1 3 1     

                     
 1 2 1  1 2 1 5 1 2 1 
5 3 4 2 3 1 4 2 5 3


4                       

    
1 2
2 3 1 3 1 4 2 3

2
2
2
2
3 15 1 3 15 1 4 15 1 4 15 1

4 3 2 1 2 1 2 3 4

2
4
1
5
5 4 3 1   1 3 4 5
 










4 2
1
5 1

1 2 4 2 5 1 2 4 5   &  3 1 5 5 1 2 1 2 1 2 15 1 2 1 2 1 2 1 5 1 2 1 2 3 4 3 1 3 4 3 1 3 4 3

 






  



1
1 3 4 3 1 3 4 3 1 3 3 1 3 4 3 1 3 4 3 5 1 2 5 1 2 1 5


  
      
       


12

1 2

The majority of the preceding passages for the right hand can be used for the same exercise with the left
hand, by the ingenuity and industry of the pupil, which is very advantageous.

PRELUDES AND LESSONS


To preserve the order of keys, some of the difficult are intermixed with the easy lessons: but the pupil must
practise the easiest first. Viz: No.1, 2, 3, 7, 8, 9, 12, 15, 17, 18, 19, 20, 21, 22, 23, 25, 26, 29, 30, 31, etc.

LESSON I





 42  

2 21 
44
3 4
1 2 3 1 2

PRELUDE IN C MAJOR
5 4 3
5 3 2
2 1 3 2 1
1
1 2 3


1 2 3 5
 



     


1
213 

24 

5

AWAY WITH MELANCHOLY: BY MOZART


Moderato
4 3 2

3 2 1 1 1 1
3 2
2 3 4 4 4 4
   2 2 2 4 3 3





   


 
p 1

f 5
1
1
2
2




4
4




 



5
3  4  4



4

3 3 3 2 2 2
3

3 2 1
1
3
1
          
p 2
1

4

  

3 2  2

4
1



5
3    3 2  2 3 4    3  4  4 3 3 3 2 2 2 1 3 1 



2

1
1 f
1
4




5
4
3













13

PRELUDES AND LESSONS

33

LESSON II


12

ARIA

4 4
  4

 42  
5

2 
4

2

3 3 2 2 1 2 3 1   5 5 4 4 3 
 
p
1 5 1 5 2 5
5
5
3 5
1
1



 

  
4  5  
4

 

5
4
4
      3 3  2

2

1

3
 5

5


1

f
3 5 1 2 4 5 2
 

5  5
2

3 3 2 2 1 2 3 1 


1
  
3

1

 
3

LESSON III
AIR, IN ATALANTA, BY HANDEL

     1 2 3 2 4   3 2 1 &


3

2

4 3

3

5 4

2

1 3



5

32

   4 3


  
5

3 4

2 1 1
2
2 4 5 5 2
4 3     3
 


4 5 4 3 2
4 3 2 5 1 2 3 2
4 5 4 3 2 1 &
1
3
1





  
       
 



2 1 2

3
1 3
4 4 4 3    1 2 5 2
2
2 4 5 5 2
5



4

2 3

32

34

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON IV
AIR, IN SAUL, BY HANDEL

 4 3 2 1 2 1 2 & 1 2 3 
5 




    
 
 43  


2 3 5 2 1 5 2 3 5 2 1 2 3 1 2 3 5 2
1 3 5
1 2 3 2 2 2





  
3 
 

4   
3

3 1 3

3 1

32

3 2 5

32
2.
1.
3 2 5 4 3 2 1
3
2
4

1
&  2 1
1  & 1 4
2
1 2 3

  4 3










   

 



1 2 5 2 3 5 2 1 2 3 1 2 3 5 1 2 1 5 3 1 2 3 1 3 1 2 3 4 5 1 2
  

         

   


45

10

19

& 12 3 4
       
1 2

32

1
  2 4

4 5
  &  2 3   4 3
45

1 3

1 4 2 1 3 5
 


2

1 3

     
1

5 

      
2

4 3

1 3

2 3 4


2


1

1
1 2
3 4 5 2  2




 

4

5 4
5
5
28
    3   3 1  2  3 3  2 3 4 1 2   4  3 4  2  3
1 
5 





5 2
1

1 5 3
1 3 1 5 1 2 3 3 4 5   3 5 2
4 3 2  5
1
1
5
1


   
 
    


4

2 1

PRELUDES AND LESSONS

5 

35

2
2
5
1 3 1    4 3 2 1 3 2 3 & 2 3 4












 
 


1
3 1 3 2 4 2 1 2 5
2 3 5 2  2 3 1 2 3 5 2
1 3 5
1 5 4 3 5 3
















  

37

2 1 3

3 2 5

45

5 4 3

4 3 4 2 1

3
3
2
2
  2 1 3 4 2 1
47
5
3

1
1
1
1  4 3
1  2 1

  4 3


   
 
 
 

2 1 4 1 3 5
1 3 2 5
1 3 4 1 2 3 4 2 1 5 2 3 4 2 1 5 2 3 4 1 2

 
   
   
  
  
5

3 2

36

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON V
DEAD MARCH, IN SAUL, BY HANDEL
Grave
4
2

  


1
 

4
2

3
1

4
2










3 4 5 4
1 2 3 2









4
2

3
1

4
2




4
2

4
2







     



   















4
2

"

 
 

4 5 3
2 3 1

3
1

3
1



4
2

4
2







3 4 5
1 2 3

     



 
 
 
 




3
1

4
2
























3
1

1
2




     
 





"



4
2




4
2

5
3

       

     
 



5
3

3 4
1 2

 

3
1

       
     
   

 
 
 
 
 


 

3 4
1 2

3 4 5
1 2 3






      

5

4
2

3
1

3
1




     
 




 
   

14

"

"
      
  
5




10







      
 






4
2




 
 







4
2

   


 
   
3
1

4
1

"

5
2

 

5
2

   
 
   

 

"

PRELUDES AND LESSONS

5 4 5
2 1 2

4
1

5
2

      
 





18

4
2

3
1

5
1

4
2

26

 

1
4
1

2 1 1
5 4 5
3
4

2
4
2

  5


29
     




 
 
 

3
1

3
1

4 5 3
2 3 1

5
2

3
1

5
1

"

4
2

5
1

4
2 3

4
2

5
3

4 5 3
2 3 1

 

"


     



 

3 4

  

5
3
3





   

4
2

1
3



 2

4 3
2 1

3
                 3




5
1

 

3
1

 


3
1

3
1

3 3

3
2

 

5
2

     
     


2

4 3
2 1

2 2



  
       

  
3
1

3
1

5
1

5
3

                

1
2 1 3
2 2
3
2
5


   




  
 
 
 

   
 
    

23
1 2 1 2 5
&
   
 

22

5
3

37

4
2

3 4


1

 

 

 

)

"
      
  
      
  




  



1
32
1
2 3
5
2 3 1 2 5
&
4 5
5
1

   




 

   


5
1

4
2

3
1

5
1

4
2

3
1

3
1

5
2

3
1

5
1

5
1

4
2 3

3
2

4
2
2 1

38

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON VI
ALLEGRO BY CORELLI

2 5 1 3
5 3 1
3
3
5
3
1
1 3 5 3 1 3 5 1
















            
  
2 1 2 5 1

1
2
1
5
2

5
2
 




Allegro 5
2 4
4 2

4 2 5 2 1 5 4 1
5 3 2 3 5 3 5 1 4 2 1 3 5 3
2 4 2 1 2 4 2


















  
  





5
2
3
2 4 5 3 1 3

3"

4
3
3
2
4
3
2


4









5
2 3 5 2
5 4 3
2 4  1 4 2 1 3 5 3 2 4 5 3

1





 

              
      

1
4
4"
5
2
5
1
2



 






4 1

4 1

1 3 5 1
2  4 5 2 1 5 4 1 2 3 5 3 1 2 4 1


 
 
     
            

1
1
2"
3
3
4
5
3

3

 






4 5 2 1

5 1

5 2

5
 3 5 3 1 3   3 5 4 2 1 5 2 4
5 3 1 2 4 2 4 2 4  4



    

    


2

3



3

2

2


3



2


3

1

PRELUDES AND LESSONS

11

39

5 4 5
5 4 2 1 5 2 4 3 5 4 1 2 1 4 1

2
4
1
3
1
2



                        1 2 1


3

1

1 3 5 1 2 3 5 3 1 3 5 3
5
5
5
5 3
2 3 5 1 2 3  1 2  4  2 1  4 1


 
 

                  

3
4
1
5
2"
2"
1
2
1
5

 

   



13

15

5 3 1 3 5 1 2 3 5 3 2
1 3 5 3 1 3 5 1 2 3 5 2 1 3 5 1


   
                   
2










5
5 3 1 3 5 3 2 3 5 3 2
3 5 3 1    2  3  3 2   

1


           



 













17

4 5 4 2 4 5 4 2 4 5 4 1 4 5 4





 


    
      














19

4

5 2 1

5 2

4 5 1

5 4 2

40

21

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

4 5 4 2    1 4 5 4 1 4 5 4
2 4 5 4 2    1 4 3 4 1






      


2

5
5 1
2 4 5 1 2 4 5 1 2 4  2 1 3 5 2


 
   
            

2
1
1
2
4
3
2
2







23

2 1

4 1

5 1

2 4 5 2 1 5 4 1
1 3 5 1
5 2 1 3 5 2
2 3 5 2 1 3 5 1















 

    
 
      

1
3
4
3
1
5
2
1
2









 




25

27

5 2

5
3
1

4
2
1

1 3 
3  







   
           
 
3

1


5 1 2

5 2

2

5 1 2


1

5 2



2


1

4 5 1 2


2


3

4 5 2

Adagio
1


4



5

5
2
1

 
 

1
3

PRELUDES AND LESSONS

41

LESSON VII
PRELUDE IN A MINOR
5 3
5 2
1
1 5 2 1 4 2 1 5 3 2 1



 86                    



1 
1 
2
3
1
5
3

6



8

5 4
5 3
1
1

GAVOTTA BY CORELLI
Allegro
3
1 2

4 5
2 31

2 3 


























1
5
1 2

5
2
4 3
2
3





 





3
1

      &

 
4

4
1

3

5 4 3 2

32

4
2

2 
5

1

  
5

3
2

 
2

4
1

 



 

4
1


   
p
3
2

4
2

5
3

3
2

4
5 1
3

4
5 1
3

          


1 2
3
1 2
 
      
5
3

5
1 4 3 2

1
   
&
    
f
1
2
5
3
5
1
2 3
4
   
   

4
1

32




42

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON VIII
PRELUDE IN F MAJOR
4 3
3 5 3 1 1
1 2 3 2 1 3 2 1 2 1
1 2






       
  42     


1 1
1

3 2
2
1
5 3
5



  5
2 
4


1 2 3 4 1 2 3

  42 

 2 5
4
5

3 4

&

   

1 1
4
5




 
1 
5

32

13

3 4

2 3 4 3


3

      




19

   

5




4

3




3


1

       
3 2 3 4 3

 






3




1 2 3 5 3 2 1


*


1

 4


1 2 3 4 5


   


2

& 1
 
1 
2

32

2 3 4 5
5





   
3

32

 

  
3

3 4 3 5

5

4 3 2 3  1
1 3

3
1 2

5

2







 





AIR, IN JUDAS MACCABEUS, BY HANDEL


2 3 4 5 4 3
2
1
5
1
2 3 4 5 3

   
3
3

&
 
   








PRELUDES AND LESSONS

43

LESSON IX
MARCH, IN JUDAS MACCABEUS, BY HANDEL

&
  

&
  

45

         

1 3 1 5 4 2
  2
  
2 1 2 3 1

     

1
5

2 4 


2 3 4

45

    


     21

  
  
3

  

4 3









  
1
5
1 2

3
2


2 4 


5 4 3 4 5
& 2







3  2
1 3 2 5





1

2 4

  
2
1
4 3 


  


5



4
1

  & 
45

2 4

       & 
5



3 2 3

 2

1 3


2

1
1  2 

4 3

  3
2 4


 

&  2 3
45

1  2 1 3

5
3  2 3 4 3 4  

1 

3 2

1 3 2 4 3 4
     

2
  

 
3

32

2 4 3 5 4

2 3 4 3


  

          
1 5 4 2
4
2

   
 
2 1 2 3 1

1 3

2 4

11

17

32

2 4

3
4 3 2 4
    

44

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

&
2  4
1 2  3 2 
1
2 4  3 5 4 3 2



 
 
 
       

4
5
3
1
1

2 1 5 3 2
 1 










 
32

23

2 1 2 3 2

   




1 3 5
3

 

28

2 3 4

    
2

3 4 5

2 3

   
3

1
2
2
4 3    1 3

&


32

    
2

1 2 3

1 3

1


5




PRELUDES AND LESSONS

45

LESSON X

 

  

&

  

 

Vivace

  43

SARABANDA, BY CORELLI
5
5
5
4 2
45
3
3
3

  &

4
1


2

45

5
1

1
1 3 1 2 15

3 2 1 2
2 1 2 1
3 4 3 2 1 3
3 1 3
2 1 2
1
3 5   5  4  5 3 3   3 5 2 1 2 4      3 5            
4



  2 31 3 2 &




3
2
3
1

2
1
1
1
1
2 1 2
3
4 2  2 4 1 5 3 1 2 4 5 1  2  2 4  5 3 1 2 4 5 1    4  5 3 1 3 5 2 4 1 2 1 5
     
  
   
   

 


16

 




2 

4


   

 
5
4

1 
3

32

&






    
2
1

3
1

4
2

4
45
2 5

  
 



   







 
   
  

2 

1
1 2
1 2
5
2
2 3 2 1 1
4 2
4 15 3 1 2 4 5 1 2
4
1 3 1 2 4 5 1
3 2 5 4 1 31 5

 

   
4

  

 

 


 

5
45

5
2

5
3

5
3

2
1

 


 
5
1

5
4

5
3

25

 

 





 

5
1

 

 

 

&






    

   
 



   

  




 


  

 
 







46

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XI
GIGA, BY CORELLI
Allegro
3 5 3 1 4 1 3 5 3 1 3 1

          2 4 2 1 4 1 3 5 3 1 3 1 3 5 3 1 3 1 3 5 3 1 4 1
           
  12
8
 

1
3
2
1
3
4
1



12 1 








 8

4 5 2 3 5 3 1 4 1 3 1 2 3 5 4 3 2 1 3 4 5


        
     

2
3
5
1 
4

4
3
2
1 


 

 

3 2 1

4 5 2 3 5 3 1 4 1

3 2 1

5

       
  









    


1
3
4

5
3
4
1
2














1 3 4 1 5 4 5 3 2 1 3 1

2 1 2 5 2 5 3 1 2 3 5 2

5
5
5
5
5
5
3 1 2  1   4 2 4  1  21  4  1  4 1



5
1 
2 
2 
1 
3 



10

3 1 2 5 2 5 3 1 2

5

3 5 3 1 4 1 2 4 2 1 4 1

 
     
1
2 
3 
  

4 5 2 5 2
1 
2 4 5 1 4 1 2 4 2 1 
2   1 
2




 
  
 
 
    


2
2
3
1   2  1  2 
1   3  2 
  


13

PRELUDES AND LESSONS

47

5
5
5

5
2
4


         2      2      2     1   2 3  1 



1   2  1  2 
1   2  1   2 
3 
1 
5 
3 


16

3 5 3 2 5 2 3

5
5
 3  4  1  4 1 



3
1 
 2 


19

1 3

5
3  3 1 4 1 3 5 3 1 3 1 2 4 2 1 4 1 3 5 3 1 3 1
       


4



1 


4


3

2 

2 1 4 2 1 5 2 1 3 4 2 5
4 3 2 5 1 5 3 2 5 3 1 5


                  




3
3
4
3
4
1
5
1
2
1


 3 

 


  

22

25

3 5 3 1 3 1 3 5 3 1 5 3

5
3 1 4 3 4 2 3 4  3   3   3   3   3   1 2 3 1 3 2 3 



 

 
1



1 


2


1




3




3








48

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XII


6

Andante
3
1

  86  

dolce

 

1 2




 
 
  

p 2 1 2 1
 
      

4
2

"

     
1"

2
    


12

"

        
4 3 4
2 1 2

 
6
8 
"

ARIETTA, BY MOZART
5
3
5 1
1
4 3 2 3
2

4 5 4 3
2 3 2 1

           
1"
"
2
   

  

  




4
3

"

" 5 5 4
       



4 2

   

1"
2 2
2
   

3

3
1

4 2 3 4

" 5

3
1

3 1


  
   

4 3 3
4 2
5

  

4 2
1

Fine.

4
2

3
1


5

1
D.C.
     
    3 






  




1
2
2
3
   4     1 
1 5

5

 

 


   
3
5
5
4
4

2 5

5
2

3
1

4
2

PRELUDES AND LESSONS

49

LESSON XIII
MINUET AND TRIO, BY MOZART

   4 3 3 1
   

3 2 2






1
1
1




     
   
  43   

Minuet

 3 
4

3
5

2
5 3 3

3
1 1 1 2 2 3 3
5
         
         

1 1 1 2

5
      2 41 41
7
    



1
2
 3
1
 

4 3 4 4 5 5
2 1 2 2 2 1

5 5 4
4 5 3 3 2

3 5 5 5 4

2 4 4 4 3

1
2



)


3

4
3
3 1
1 2   2 3
2 1   2 3





                      
 
   


1
1 2
5
5"
5

5
1
5





 

 



4 5 4
1 2 1

5 4
2 1 41

5 4

4 5

5 5
5 4 4
4 5 
5 4 5 4 4
4 3
1
3

3
4
2
2
13
        2 1 1      2       2  2 1 1 2 1 1
 
      


3
1
2
1
1
3

2
5
3
4
4
5
2
5
3 4 1

1
5














 
   

5
4 3 3 4 53 4
2
2 1 1

50

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

Trio

5  5  4 5 3  4 2 4 2 1 2 2&  1 2 3 1 2 2&  1 2 3 4 3 2 1 2 3 4





  43
fz fz fz
1
2




 3 
4



 





 










      2  2 2 2 2&  1 2 3 2 2 2 2 4 3 1


6


fz fz fz


 





 





4

3 2 21 1 2 4 2 3 5 3 1


11
   



fz
1
3








 
 

5

15



4 3




3 2

2 1


2

2
3 3
    2 1
5

4
1



  
 

  

3
1

 






3

1 2 4 2

 




 


5
2 

4 3
&
3
2
2
2
2

2
 1
1











1

 
 










5
3

Men.D.C.




PRELUDES AND LESSONS

51

LESSON XIV
LE RVEILMATIN, BY COUPERIN

4
3%
3
4 1 2
#5
2 3 4* 5 4
*
2 3 4 3
4 3 4
"
                

  12


8
1"
1"
1"

2" 3




5 2 1 2 1

   
12  

 





 
 8

2
3
4
5
Vivace
1 1

5
3
1

  

 


* 5 4 4 1 2 3* 4 3 4 3% 2 3 4 3 3#2


  
 
 
  

1"
1"
1"
2" 3




1


               2  2 1

5
2
3
4
5
4

 1 " 3 1 4 3 1 4 3 1 3
          
 

5

"



2

5
3
2

2


5


 

                      

                    


 
5

 
2

 

% 1 5 5 1                 
   



           
2

 " 1 3


1 2

1 5


     
     


2

52

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

               5 3 1 3    # 1
 
               



3
1
3
4
1
2
1
3
5 2
4 1
     



" " 
"

 
 
 

 
 
 
4 5 32

4
2
1




2
3#
5
#
5
4

1
2
3
2
3
4
4
3
           & 5 5     







 



    
1"
2"
2"
"

1
2       21 5 "         1 1 3 1 2 1 4 2
 






3
1
2 3
5
5
1 1 2 3

15

4 5
4 3 4 5

                       
                        

3
3
3
1 3   
1   
1 3   
1   









3

    %     % 1

   


 1 2 1 3 5 " 2 4 " 1 "
    


17

5 3 2 5
2
2 3

5
3
2


 



3
3#
4 2 3 # 2 3 4 5 4 3% 2 3
3
2

  







    
1
 2 3 1 2 1 2 3 2 4 1 2 3 5 "
       








1 1 2

3 4 2 3

5
5
2
5
1  2
1  1
2 5
2
 2 1 4 2 4 3 1 4 3 1 4 3












 




                    
                     



20

PRELUDES AND LESSONS

"

53

5
2"
5 4 5
3#
#
4

3





22
     2"     

2 1  
1   2 3 







              






2
1

1
3 3 1
1
1 3 2 1 4
1
5
3
 2 3 5 2 4  
3
5


 




4
2
1

1 5 4 3 4 2

5 5

5
# 2 1 3 2 1 2  4 3 2 1

1
"

     5 " 1 2 3
  


4 1 4 5
"

       2 " 1 5 4 3 4 2
 
     
        
1 3 2 1
1
1 3 2 1

4
1
4
1 3 2
3

5
5


 


1 5 4 3 4 2

5 2 5 5

25

&

45

1 5 4 3 5 3

4 1 4

2 3

5

1
2 5
2
1 4
1












    






                    
                     



28

1 3

4
2
1

# 2 1 3# 4 5 1 5 4 4#5 2  2 3 1 2 1 3  4 4 3# 1 3 2 3



 

     
1

 
2
2

3


5 
4












  1

3
5

30

        % 
3

2
1 2 3 4 5 3
1




 



                




           
 

1
1
2 3



4
4
2
3


1 3 4 2 5 3 1   


 






33

5 5

54

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

4
2
1

               5 3% 2 1 4 2 4#5 2





















1
1
2
2
4" 1
 3  3 4 2 5 3      1  1 3 5 "
     "



 

35

 


The graces of the first and second bar to be played like this:

4
4 3 4

3 2 3

3 4 3

PRELUDES AND LESSONS

55

LESSON XV
PRELUDE IN D MINOR

 


 





  


 









1
2
1
3
4
 
  
    




 

 


 


 
       1 4 3 1
4 2 1
1
5
3 1




 






+


   


 

2

  

 
1 2

4 5

LARGHETTO, BY SCARLATTI
3
5 4 2
2
1 2 5 3 2 1 4
2 1

%
2             

3
 4

 
5 4 2
1

1

 3 4 2 
4

 
4

  4


1

 

5 4
5
4   2 1 2  3 4 1

1
5
15 
4
53 4



 

3
*
1 2 1 2
1
1
5
&
3
2
4
3
2
4
3



     
               
 
1

2
1
1



4

1 2 5
5
15
31
2
3
2
5
1
5

 45


    

 


3

5 4 2 1

2 3

5 4 1


 










1
1
2
1 2 5 2
   4  



13

5 3 2 1

5 4 3 1

%2 1
  
3

1 
2

5
 1

   
2

1 2

5
 2




  3  1 2
4

56

19

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

    


3 4

 2 4

&





2
  5
32

24

2

1 2

3

2 3 4

1

   3 2 1

5
4  4  2 1  2


3 1

   
2


1 2

3

1

     


1

5 3 4 1 2 5 4 2 1
 
 
1

2

4 3 2 1  2 1 2
 
5

1

1
2

1

* 
3



 
1



PRELUDES AND LESSONS

57

LESSON XVI
ALLEMANDA, BY CORELLI
Allegro
5
3

 2
  




1
2
3 2 1
1 2 1 2 1
3 2  3      3 4 5 4 3  4    5 3 4 5   

 




1 5 3 4 5 4
     

3 






3 
5

5
3

4
2

2
4

2
5

5


5


4

1
2
1

3
3 2 3 1 2 3 1 4 3  2 4 3  2 4



4




1






   

   
2 1 3 2 1 3 4 3
3 2 1 3 4 3

4
 
 3
2 






1 3 1  2 1 2 1 2 3 4 3 2 3 5 4 3 2 3 2 1 2   3 4 5 3 2 3 5 4 3



  

5
3

4
2

1 


2 4   1 2

 
2

 


4
2

3
2

 

 


1 3 1 2 1 2 3 4 3 5 2   1 


5
3

3
1

4
2


4
2

5
3



3
1





"

4
2





1 4 3  2



   
3



4
2

 

3
1



1
1
2 1
1  4 3 2  2   3 1 4    1 2 3 1  2   1
2 1  3   5 2 4









58

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

5
3

3
2

"

5
1

4
1

3
2

          


2
5 3 2 4
1 4 1 5
3 2
3
1 2
                   35
  

11

    




 1
   


1 3 1 2 1 2 1 2 3 2

     5 4 3 5
 
3
2


 
  
 
 





2 1

1 2 1 2 1 2 1 2 3 2 3 4 5 4 3 5 4 5 4 3 2 4 3 2 1 4 3   5 4 3


  
3
1

14

5
3

4
2

5
3

5
1

19

4
2

 





4
1

5
3

3
1

      
4 2

3 4 5 4 3

4
2

21

4
1

4
2

 2


1
3 2  5  2 3 4 1 2 3
     
4

5 4
3
2
3 1
















1
3
2 1
5 4
1 4   
3
2 1 3  
3



 






  
3
2

4
2

3
1

 
 













1

2
3

1 5 3 4
1


4
1 4
3
2


3  


 










3
2

   1 




2
2 1  4 1 2 1 5 3   3 2   


 
 



1
1 2 1
2
1 3 2 1 3 4
3
5



     


     

17

 


4
2

3
2

     




3


 
 




PRELUDES AND LESSONS

59

LESSON XVII
SARABANDA, BY CORELLI
Allegro
4
1

5
4

5
1

5
2

3 

 

43
3

1
 

2 

    
    
 












 
  86

1 3 5 1 3 5 3 1 5 1 2 1 3 2 1 2 1 2 3 4 3 2 
1 2 1 3


 6         
     

8
3
2

4
1

3
2

3 2 31 3 42 3 42 3


6
   1    1 2 
   



1
3 4
2
2
      3    5 3 "  5

   

 
    

 5" 4
 

12

4
1

5 4

3
1

4
2

3
2

1 

1

2 

 

3
1

 
4
2

 
3
1

4
2

   23 41 3


  
5 4 3
3 2 1

1

1 2 3  4 5 3 2 3 1 2 3

  


1
1 2 3
4 5

 

       
 




3                "
 
4

 







60

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XVIII

 


3
 4


PRELUDE IN G MAJOR
4
2
1

5
2
1



1

 4  
 3 



   
4
5

 5 4 3 2 1 3 2 1 4
   




2

5
3

4
2

3
2

    1 2 1 

    



5 4 3 2  3 2 1
  
1
3
1

 1 2 1 2 1 4 2 5
      
 
1

AH VOUS DIRAI - JE MAMAN


3
1
2
1 4
3 3 3 2 1 2

 2 1 1 3 2 3 4 5 3   
 
 4  

1
2 4 1
5 1


4  3 2 5 3 5
 2
4 


13

 5 5


 
5

1

     

 

4

3 4 5 3

1
4
1
3 2


   

5 5
4 4 3 3
3
              
3
1
1 5 2
5 1
5 1
5 2
5 3
 
  
     

4
  3   3 2
3

   
1

3 3

1
2
1
1  4  3  2 4 2 1



2 1 2 3

1 5

 
1



PRELUDES AND LESSONS

61

LESSON XIX
TRISTE RAISON

5
3

 
 


4
2 5 4

3
1

4
2 5 4

5
3

3 
 4   
!
 3 5 1 1
4 
5
3

 

3
34
1 5 4 1

3
2

       

 


1

 5 31 42
12

3





        
1

2
5

 
 


4 3 4 4 5
1 2 1 2 3

3
1

34
5 4 1

4 3 4 4
1 2 1 2

3
2

       
 



4
2


1

2 3

 


5
3

 

4
2 5 4


4

1
3
5

  
3
35
1 5 4 1-3

4
2
1

       

3
1
 







1

     

 

1 3

2 4

1
2
5

 
  



 


 

 

4
2
1

3
1

5
3

  
5

*4
2

  


    
5
3



  
5

1
3
5

 
  

5 4 3 4

62

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XX

"

FAL, LAL, LA. AIR IN THE CHEROKEE.


4
5
1
3
3

" 5   
 
 42 


 

1 2     4  

 2 
4
4

 5








"  2.
              
2 2
 4    4 1 5  3  2  5 1 1
  





 

   
   
   
    


  




 

15

 5

4
2

2
3 1

5
3

1"

    

1
     5 4 23
  
   


4

5
4



2
3

4
1

    
   
  
    



5
3

1 2

5
1




    


5
2


   
   


                   
1
15






1

5 4

4 4

2  4 2 

" 

    
 
   

PRELUDES AND LESSONS

63

LESSON XXI
LARGHETTO, BY PLEYEL

24 3
4 3
"
"
"2




        


  

       
 




f1 2 1 2

dolce
     3 4


1
1



 
  3
3
 



5
3

3
1

     
    

p

3 2
1 
5   
 

5
3

4
2

3
34 1
1-2

5
3

4
2

5
3

4
2

4
2

  
p
1
  4 
2

5

3 5 2 4
13



1
3
1
    
  2 1


f

1
1
2
4
3
5




  


 


2 3

4
2

5
3

5
1

4
2

5
5


 " 1     3 2 2  2 1      2
  
  

cresc.
1
2

3
4




 1 
 


5
2

 
    1  
p
2 1 2 3

 "
 
     

dolce

)

5 4 3 3 3
3 2 1 1 1 3
1

 "
  


        

f

  
 


 


19

5
3

2
3

 





"
5
1
     

p 2
5

  
 

3
1

3
1

  



 

  

2 1

1
3

  
 

64

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XXII
ARIETTA

3
3 2 1

3
2"
3



   
 

 42  

2 1 2 4    5 3 1 3 5
2 1 5 3 2 1



4
5
3
5
3



 2 
           

4

Allegro
3
1

 
3


3


 
2



2 3

  

 

3 4 2

5 4

5

3 1 3
   5 3 
 5 3 2 1 5 3 2 1 42

5














 
 




  
1 2
4 2

2
5  


 
   


1
1
2 1 2

  4 2 1 2


5 
5 2  2 4 2  2


       




10

 4 3  2 3  2

3 2

 4 3  2 3 4  3  2 3 4 3 2 1 
    

$
1
1
1
2 1 2
5 
5 2  2
4 2  2 3 2  2




14

2 1 2 1

4 3 2 1

3
 

fz 12
 


3
5

5 3

ad libitum


1

PRELUDES AND LESSONS

5




65

"



   


a tempo









                        

16




 


      






                    

20







66

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XXIII
GERMAN HYMN, WITH VARIATIONS BY PLEYEL
Andante
4
5
1

2

 4 


    
  3

Variat.
I

5
3
2

"

   

fz
2
5
  "

 
 2  
 4
p
&
 2  
4

    

5
3
2

4
1

   

"

5
1

4
2










4
1

3
2

5
3
1

4
1

        
pp
p
2
1
3
5
3  5
 




5
12

4
1

     
     
 

5
2

3
1

         



"
   




5

"

 

4" 5
 

 


5
12

5
3
1

4
1

  





2
3

4

            1

  

sempre staccato

 2 3   1    1 2 5
    1 
  " 

4
2
1

"
             
     
%
f
 

   

11

4
2
1

"

5
3

           


3" 4
1
1
5

   

 


 2 5
4  
4
3

4
2

3
2

4
2
1

5
3
1


  


    


    

5
3
1

5
3
2

    



 

4
2
1







    
 
 
5
3
2

   
  
1   p


               
                

         



PRELUDES AND LESSONS

67

1
3
 2   1 2 3 4 5 5 1 2 " 3   5 4     & 2 2  1 2 3 4 5 5




 4 


"
"
 2 dolce 

   




 
4 
3

Variat.
II

'

 
5

2 1 3 2 3

5
1

4
1

"

5
2


                       

p f
2

 


  




5

 1 2    

         
p

5







12

3 2 1

2 3 1

3 1

"

2
4

2 3 5 3 4 3 2 1

 

   
  


"

 




68

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

Variat.
III

5
 2 1 2 3 2 5 3 2 3        1 2 4        1 2 5 2 1 3  3    1 2 4 2  4 





 4 


"
"
" 
 2 "







4 

 1      3   5     3 2                           







"
"
"










5

                    4   4    4   1 5     3 1 2 1 2 3 1  






1.

 "



10

2.

1 5

 
 

 




5
5
5
3     3


3
2 3      1 4  4         2 3  1 2 
4











"
" 
"












5

5
1 3

1
            
 




    







         

"
"
"
 










13

2 1 2 3 1

                      1 2 1 2 3 1 2  3         1 5 3 2 1



 
   "



 "










1.

16

2.

PRELUDES AND LESSONS

69

LESSON XXIV
ANDANTINO, BY DUSSEK
Andantino ma Moderato e con espressione
4
4
5
1
5
2 3 2 3 3
4
1

2 
 4 
p
(
1
2

 2 
4
8

 2-5












"

           
           
2
5








3
1

ten.
3

22



5

1
cresc.

 21   
5

1
2
5





"

"

5
1

4
1

   
 

21

3
       
3 4

 
  
1
1

4
5



   31



1
4

4
2

4 3
2 1

5
3

1
3
    

4
5

1
3

3
2

2
3




4 3

pp

"

"

 
 
"

   

4

1
4
5

     

2 1


 
 pp 







1
4




1
3






4
1

5
2

5
3

4
2


4

1
2
5

 1 
 3

       
   

1
1
rf
f
1 3 1 3 
   




1
3

3 4

1 2
3 4

  
  

)    
  

2-3 2
3-5 4

    

2 1




 1  

15

1
4




 
3
1

          2



5



"

5
1

3
1

3
2





1
2
5

"

"

2
1

2
1

            
 p
1
2 1
2
1
1
"
1 
3
4
 
    1 2
 



3

2 3

5   3-4
  
 
4







5
3

4
2

"

4 3
2 1

  
     




 

 
3-5
1

4
2


2


70

28

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

4
2


1
1
5

 
5
2
1

5
3

"

4
1











2
3

5
2
1



34
  
    
1 4 1 4
'


"

5
3
1

 
 

1
2

5
1

4
2

  2 3 
 





2
1





4-5

4 3
2 1

  
  
 
1
4 25

4
2
1




1
4

4
2
1

5
3


 

2
5

"

3-1

"

2

5

2
1

2
1

 2  

   
5

"

4





1
1

5
4"
 4 4
  
   

 

1 pp
3
3 1-2
3

5

        
  
1
p2
f
2-3 2 13-2
3-5 4
2  3-4

5

3 4

2-1

ten.
3

    
 












3 4

1
1

1
2

PRELUDES AND LESSONS

71

LESSON XXV
ALLEGRO, BY HANDEL
5
4
4
2

    5 1



 3  5     3

 4
3
&
5
3
4
2





 3
4



2
1


5

1

4

2


4

 
   
5

5
  1  1     2
 



 

5
3


3
  
1
2
5







3 

       
 

5




4 3 2 1 4
  

4-5

5 3



   
 
     





3

2 1 4 3 2 1 2 1

5
 4  2 1 4 2 1 5 1 5 2  4
    



3
2 1 3
2
  4 

14

2

   
3

  1  4 5 1 2 3 1



         
1 2 4
1 3  2
1
4
3
1 2
5
1
5





 



1

3
2
5

11




5
 
4

5 


  3





5

 3   3  2 





2
1 5

72

18

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

1
   

5

 
  
1 1 2
3 1

21

5 3



    

24

1

    

*

   
 


1

2

5
4  2 5 1  4


3 1


5

  

1

  
1


2

 2

3

5
3 2
3   4    3
   




4

4-5

1.
2

5
5 1   1     2

5




3
    
2
4
 

  
 
4
2

 

5

2
1

2.

  
 
5

2
1

      



 

5

PRELUDES AND LESSONS

73

LESSON XXVI
MINUET IN SAMSON, BY HANDEL

&
4
1
2 4
3
1 5















         
 83

2
1

1
5
2
1
1 5
3
2
1
4
1

1
3
2
3 1 2 3 4
 3 5 

 3 4  



  





8
 
32

"
9
   2 
    
+
1
 
 3  4
3
2

4
1

5
1

5
3

  
    

3
4

25

 2

4 5

5 4 5 3 4
4
1
2 1 2 1 1
2 5 &
"
4
  





                 




1
  




   


 

4
2

3
41 2
&

         1 
,
1
1
 2
 2  5  3

17

"

2 1

5
3

4 3 4 5 4
2 1 2 3 2

4
2

45

 

1


 
3

5
2 52
4
&
4    
2 &
4
2

& 
      





   
1
1 2 3 5 1 3 2 1 3 5 3 1 2 3



   
  

& 23
 
            

1
1 5 3 2 1 3-5   


5
5
2 4 5 4 1

4
2 5

"
"




      


3
1  
 
5  5

    


 

74

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

33
 "
        
 
     


45
2

& 2 31
       

           

1
1
2
5
4
3-5 
2 3 5

   
 

42

3 4 3 4 5
1 2 1 2 3

4 3
2 1

3 4 3
1 2 1

4
2

5 3
3 2

  
    



 
 

"
"

  



 
      



    





"

57

4
1

5 4

& '''''''''''''''''1 3 1

5

5 1 
     
 

1 3 5 2
2 1 
3
2 1
3
  
  

   
  5 3 4   &

 



1
2


5
  
 

50

3 4 31
1 2

4 1 2
&



                       

 
Fine.
 
 


 
       


3 3
5 1

&
       



 
 


&
          

 
          

D.C. al Segno


 
   

 

 



PRELUDES AND LESSONS

75

LESSON XXVII
GOD SAVE THE EMPEROR, COMPOSED BY DR. HAYDN
Poco Adagio Cantabile
5
5
5
4
4
3
4-3
2
2
2
1
1

"



4
2


      


  21  

41 
45  



11

 4 5
  
3
5

4-3
2
1

3
2
1

   

4
1

1
5

2
5


2
3



5
3

4
2

 

3-2
5-3

3
5

1
4





5
3
1

   
 

 21 
3

  
  

 





4
1



1
2

4
2

3-1
2
1




3-4
2




  


1
5

   

2

3 2 1



3
5

4-5
2

    
2
3

1


5

    
4 2 1

  
  




5
2

3
1 2

4-5
2-3

5
3

1
2

4
5

5
3
2
1

4 2 
      


 








4
2

3
1

  5 2
 
1
3-2

2
5

"

3
1

4
1

4
1

2
5

1
3

5
2

 
     

1
2

2
3


   

2 3
      

4 5








 
4-5
1 4

2
5

1
5




3
1



2

4
2

 

1

5
2
1

   4
  
1
2
4



4
2
1











76

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XXVIII
RONDO IN THE GIPSY STILE, BY DR. HAYDN
3 1 4 2
3 1 3 1
5 1
3
3 4 5 3 4 2
5 3 4 2

4 1
2
 2 3 4  



"



   
   
 4 

  
 

 

 2 


 


4


Presto




11




16





20

 
"

                            
"
 
        

  



 
   
                      


         
"
)


 


 

   
5 4 3 2 5    5 4 3 5   5  




fz
fz




   
 





 

       


fz
fz
4

1 2 1 2

4 1

3 2

5 3 1 2

3 1

3 2
4
4 5
4
   1 3    2 4 3  2 4 1 3 1 3 2  2 1       2 3 1 2 1 3 1


 








 





PRELUDES AND LESSONS

24

77

4  5
4
4
3 4 2
1          








1



  


 






















"

      





 
            





         
"

)
 



 

 

29

2
   



34
1

 





 

fz






  



4

"

   
 
  



fz
       




40


ff"
$
 


52

"

4
2

3
1

4
2

3
1

2
1

    
  
    



   
    


 




fz
          




    
    


  




           




"

"

 


"
 

"
"
"
    





"



   



"

"

 





    

4

"

"



 


46

5
3

"
"
 


"
"
 



 





    

"

"

 


"
 



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78




 

58





$
"

 


64

70

"

"

"

"

 


"
 



"

"




"

"
"

"

"

  



"
 


"

   



 

"
  






5
3      3 3
        1   1



 

         



  

80

"

  



"
"

 

   
     


75

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE




 

 

   
   

   

   
    

 

fz
 
 

"

"





5 3


  

"
      


2

3 3

   
   

"
"
 


 



"



"




2 3


1

"



"




2 3

"

2

fz
fz
   
   



fz
fz
       
        

 
       

fz
fz
       
        

 

 

3


 



              

fz
  

 

3 5 4 3

  
  

 

1 3 2 1

  



 
 

PRELUDES AND LESSONS

          

85




1 1 2     

 
 

3

3 5 4


      


  
   

90

     
 

79

5
3       
     

  
   

  
  

                  
  


  
 



   

 

 

 

       

  
   

  
  

 
 










     

   
 




"

"


 
)











 


 

 

95


















  
           



fz
fz





       

 
 

    


fz
fz

100


                               






     


 






105

109

                       



















80

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

 
 

     



"
"







 




   

119






 
 
 "



    
 

 


114

1

     1       


fz
#
        
 

 

124

     
  
  


  








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ff

129

1.

2.




            

    
)


1
 
               


   

       


    



        
fz
     
    

  
 
 

     3  



  2 1 2     

5 4
2 4
2

 
 

3
2    3 4 3 1 3








134
  1


         
          













 
 

2 1         

  fz   
      

 
 





  
  

PRELUDES AND LESSONS

          
 



fz

 
      
  
  

139







   
    


144

    






    

ff
      




ff



                       


 



 
              


       
         

149

   
      




 

 

154

81







  
  




   

 

          
     
 
 




    
  
 










 
   
    


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"
)


 
 

 
 




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fz
fz

    
     
 
   

    


fz
fz

159

 
                          


  

      


 

 


164

      






82

169

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE


                                       









 












 

 

179

  



 


174













"


                      

        
"
  )
 


   
 


ff 2 1 3 1 3 1
 
4  3   
4     


 
     
   
  




"







   
   


183

187

 

 

191











"
     "  

 
 
   
   
   
   
   
   

 "
 





"















































PRELUDES AND LESSONS

83

LESSON XXIX
PRELUDE IN E MINOR

   5  4 5 2 5 1 5 1 5 2 5 1  2  1  2  1  2  1  2  1  2 
             



  





5
4
 1 3  2 4 1 3 2  3      2 4 3 2 1 3 2 1 2 1  5 4 3 1 2 1 2
   
    



 




 

5

1
2
3

1
3
5

              
  
5
4

2 1

TAMBOURIN BY RAMEAU



 

 %
   

 





% 1 2 3 4 1 3 2 1
         







Vivace
1











 
1

2 1  










  


2
%
3 2  
3
3    3 1 % 1
    %



  
     
 
1




 

 









84

13

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

  2% 1 3 5 3% 2 1
5 4 2% 1   %
 %



         

 






 %
   

 




19







 








%
    





  
 
  


  









   



3
3
2 3 3% 1
3 % 1
2
%
1
2 3 % 2
1 5 1 3 4 3
    



         


1
1
1
1
2

2
2
2
2
3
  
  



  
  
    

 





25

5




   

31

36

1 3 4 3





 





   
    

5

    
  

   




        




2

%
% 1
                         
5



 






%
42

    





 
  

  


 








 
3

 
 


4
4 5


3



   






  3 2   4 3
3 4

 





PRELUDES AND LESSONS

48

  

 


53

58


3

  
2





2 3

4
4 5


1





1


2 3


1

85

5




1


2 3

4
4 5


1





1

2
2 3

5
    2 4 1 4  2 4  2 4 1  4 2 4 1 4 2 3 1
                   







 





 1    

 













1 4 2 3 1
1 3
    








 
 

   



 







1

1 2 1 2 3 4 2 4

86

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XXX
PRELUDE IN B FLAT, MAJOR

                          
 
 


 


6

sempre legato

1
4



2
5




  

1



2
5




1
1
   



 
      




1 2
1

 3 1 2
 

2


5

2

5 3 2

2
4






MINUETTO BY SCARLATTI
5
5
4
3
2
1
1
2

2 5
5
 3 5 2 1 21           4   4 2

 4
&
3
2 1
2 1 2 1
2 1
4
1
5 1 2


 3


4 
5


3 4

4

1 2

5 4
5
5


3  2
1
1
2 5



4  3 2 1 2
         
 





3
2
4
3
1 5 3 2 4
2
1
4
5 1 3 2 4
 41 5 2 1
 
  









3 2 3 4 5 3

21

PRELUDES AND LESSONS

4
2
1

5
 1 4   &


 


5 3
    

 4 






  

45

15

22






2 3


3

1
4

1
5 2

5 2

 


 5 1 3






1

1

3 4
1 2 1 2

2

1


2

4 2
5
1  
1  2
2
1
2
1
2
3





 

4 3 2 5 4 3

1
2


2

87



1

 
5


3

 
2

 
2 1 2 3

     (
2

1 2 3 1

2
1



5

1
3
5

 





88

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XXXI
LINDOR - AN AIR
Allegretto
5
4
4
2

4
1

"      




      


2

3 1 
1

3  
1 4 1 2

5 3 2 1
4 1 5




2  
 

 4 
 
  42

   
5
3

4 3 4
4

  2 1 2 2


1 5 2 4 1

   


4
1

13

5 4


 


 
3

  
5

"

 
2




3
1

3
1

2
1

"

4
1

 
4

   


1
    4  

2 1

 




2 4


5

5
1

3
2

   


   


4
3 4 3 2 2


3
1

2 4  

 
4

"
 

2

  

&


  
2




1 4  

2




2

5
1

 

2



PRELUDES AND LESSONS

89

LESSON XXXII
MINUET AND TRIO, BY MOZART

5  4

4
2
1

Minuet

12


 3 
 4

a tempo di ballo
1 5

 3 

4 

4
1 3

5
1

5 4
2 1

5
2

5
1

   
        
5

2 42

3 35 3


1

"

 


1 5



&   1 2 3




 


 
 

 4 1 2
    










  

3
1

2
4

1
3

2
4


1
3



32

 2
4
2

4 3  2 3 2 4 3 1 2
   


3  

2 3 3


2
4



& 34
 
     2  

fz  


 
45

     

1

3
5

  
2
4

5 2

      
3

2 1


2

1
3

1
3

3
1

    
3 2 3 4






3 4

3
5

  


2
4

4
5 
  
   2

fz  
 


2
4



2
4

   2



4 3
2 1

"

 

1"
 

2

90

Trio

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

 

  43        
 3   
4 

4
1

4
2

5
3

3
1

5

3







        
7
 

  





 

1
#
3
1
1
2   


 2 5
1 
 5


 
2 1 3
2 1 2

12

 



4
1 2 3

4 4
5 1 2

4
 


5
3

4
2

5 4 3 2

5 3

5
4

5
4

 3 4 2 1 3   3 4 2 3 2
                
2 3 1 2 3

2
2
2 1
2 1
2
2 1 4 3 1   3  4 3      3  4



2 1

    
 3 2 1 2 1 2

3


     
      



1 2 3
1
D.C.
      Men.






4
4
5










 

5
1 5 4

 5

4
      3 


        

1 2 1 2
1 2 1
3 4 3 4
3 4 3 5 1 2 1 4 1 5 1 4 1 5 1
   5
5


   

   
5
3

4
2

2
1

5 4 3 2

st

N.B. The last note of the bass in the 1 part must be played
d
st
d
with the thumb the 2 time, on account of the 1 note in the 2 part.




PRELUDES AND LESSONS

91

LESSON XXXIII
5
  2 



/

   2
5

GAVOTTA IN OTHO, BY HANDEL


3 1 3 5 4 1 2 4 3
3 2 1 4 2 3 2 1

4
2 5
4     


          
(
3
3
3 5
2 1
2 3
1
2
4 3





 
 
 
 



45

3 4

 2 

(
   2 1 



 

1
1
3 5 3  2 5 1



12



5
2
1

5
3
1

45

%1 1



  
3

4 5 3

   
1


2

3
4
( 2 1 3 4 2





 

2
3

1
 
5

1 2
3 1



 



2 4

3
( 2 1 3 4 2 3( 2 1  3 2 1


1

    





2 1 5 3 1 2 5 4 2 1 2 3 1 2 4 1 2 5 3
 

 
5
3
1

5

5
2
1

5
5
3 2 1 4
2 1 5
(
(
1
1 2 3  1 3   2 1 2 4

         


3

2






2
3 1 3
1

2 

2 5

 

17

4
2
1

(

5 4 3 4 3 2 &
4
      









 


1
5




 
3





1

2
3


5




1

92

22

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

5
5
3 5 1 

1



 
1
3

27

 3

 

5
3
1

5
4
2

 

 




1 2 1

4 3 2  &
1

5
3
1

4
2
1

45




1
2
3

1


4



5




 
2


 


5
4
2

   (

    
 
 

 
 




1
3 5 3 



&
   





  
     
(
1
2

  5 3 1 2 5 3 1 5 4 3 2 4 5

5 
 


 
  

3 5

2 1

2 5 1

2
3

 

5

PRELUDES AND LESSONS

93

LESSON XXXIV
ANDANTE WITH VARIATIONS, BY CRAMER
5
3 4 3 1 5
4 2 3 1 2 4
3
1
2 5 4 2 1

 2 5       " "
 4    2        

3
p
1

2 1
"
4
4 3
 2  5   
 4




   



"

 


Variat.
I

    "

       
  

2 14-3 2 3
3  4 5



  42 

 2
4

 

    
    


             
      
dimin.
 "     "   


  

 "
     "
   





      
p




 
 
"
 "
 

"
   

 


    
 






"



2 1
1 2 4 2 1 2 3 5
2 5 4 2 1 2 3 4


   
     
      



"





    


4 1

2 1

3 1

2 5 3 5 2 5 1 3





   
 

    
             

1 2 3 4 1 5 1
dimin.

rf
"



 






   



4
 



5
3
1

 

 

4 3

"                            

     





  
   "  

  



4
1



94

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

    

  




14

Variat.
II

5 1 2
3 4 1



           




    
 

"
 2      
 4

 2

4

 "
       
  






    

 



 


       


 
"

"




    



"

3 5 2 4

  "





    





  



 4 3 2 1 3 2



   


fz
p



        "  



 

"


13
 
   


p


    




    
"
p

 
  

         " 


5 2

"

"






"

    




fz  
 





" 

 






     " 






fz  
  

   


"
"

        " "

  
  
 


             








PRELUDES AND LESSONS

" 
 "    " "
 
  
 

 





p

"
  
"
"











 




16

5 4
1

Variat.
III

"

95



    " 


4
1 4
2 4
2
 2      2 1  3 1 4 2 1  2 1    2 1 4 3 1 5 3 1 2 3 5 1 2   
 4 
                     


f
"
 
2









 4




4 2

5 4

3 5

   
      









  

   
rf
dimin.
fz


 










5 3
1

5 4 2
2 1 4 2 1

5 3
5 3
5 2
1
1 4 2 1
1



5 2
1 3 1 2 5 2 1 5 4 1

4 2

5 3

5 4

4
1 2  3



"   
     




         




!




"







 



 




5 4
1 5 4 2 5 3 1 5 4 2

5 4 2

3 2
1

3 4 5 4 3 4 3 2 4 3
2 4 3 2 4 3 2
1 2            2 4 3

1
2



  2 1 3 2 3 4 5 2 1 5 4 2






"



)














 






12

96

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE



3 1
3 1
3 1
2 1
              1 



 fz 






5 4

2











 
"








 


15



4 2 1 4 3 1 4 2 1 5 2 1

"

" 






"
  
     



5 2 1 5 3 2 5 2

"
      
"





   



"
 


  

  





ff

 
 
 

PRELUDES AND LESSONS

97

LESSON XXXV

PRELUDE IN G MINOR

  



 


1
4    3 1 2


  3

  




  
5

 
 

    
  
1

3 2
  5 4 3 2 1 4 3 1 4


    

   "
3 2 1 2 1





 

       " 


2

ALLEGRO, BY SCARLATTI
3 5
2
2
1 2


   4 3 4 2               





 



 
 3


   2    
2

   
5



1 2 1 3    5



4
   
          

    



2

1

       
     



      

         





 

98

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

2
5
2
   













  
 
     


   3 1 3 
"


 


 
2

10




1

3

4 3

2


1

"

&


"

4 4  3  3  2  3  3  4  4  3  4  3  4  3  4 

       
    
4

12

 &


"

&



4


2

3-4

5-4


3

   2   2    2 3 4 1
         5 1 5 1





 




14

 
 
4

3-5



        1       
        1         2






 

        



2
1
2 1

 
      




 




16

2 1

3 4

3 4

& 2 3 1
        

  


4 5

45

PRELUDES AND LESSONS

18





99

45
1 3 5 2 1 5 1 4
4  


4 
4       
1 2 & 2 1 5 2
1





 













       
    
  "    








4




1
4
4
2
5 2 3 

  

 


              


4
3
2
1
5 
3
  
          





24



 2

      
1

              

5
3
      







         & 2 4 2


45

26

1

 
2

28





5

1 1 2 3 1 2 3 4
  
 

5

ou

2 1 2

  
2




"

  

5 2          




3


4






  


 
5

  

5


1  2 3 1 2 1 2
  

5

5
5
5
5



1
2
1
3    1


        








3
4
4
3  
2 3 1 2 3 4 5





  3






30

100

32

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

 3    1




3
   

 5

34

3
   

3
   

    



4 3 1 2 4 3 1


   
2

   

5
5
2   2 3   3 4  

2
1

     1    2




 2

4
& 1 3 1 2 1 3



    


1
2 1 5  5 4 3 2 1 1  2 1 5 2 3 4 5




   
  

3 

1

                 3 4 2 4 2 3 1 2 1 5 4 5 2           & 1 2 1



      

3
2
2"
4
2
1
2
4
1
1
 













37

4 5 3 4 2 4 2 3 1 5

3 4 2 4 2 3 1 4

2 5

32

& 2 1 5 1 2 3 5 2 1 5  4 1 2
4 5 4





          

            
,
1 2
1
3 2
2"
3
2
4
3

 













 

40



4 5 4 1 4

45

1 3 2 1




PRELUDES AND LESSONS

101

LESSON XXXVI
PRELUDE IN D MAJOR
4 5
1

 4
3










   1 

1
1
3 1
6



 
       


 1 1


 Allegro


5
4
2
1




2
 3 4
3
1
1 
1


 








       

   
4
3

  
  









 
1




2




3
5



5
3
2
1

4
2
1

GAVOTTA, BY CORELLI


     1

Allegro




3
1

2
1

 

  1 3

1

    

 
3
2

  5


5
3

5
2

4
1


2


5

      & 1
4


4

5 3

1
  3 2  1
  


1

4
2

2 5

3
2

3
  1 1
 

32

2

5
2

 1 2 1
   
2

1
      &  
32

5
4

1 2

5 3

3
5

   2 

2

4  5 3  4 & 1

32


3


4

1 4 


102

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XXXVII
MINUET IN ARIADNE, BY HANDEL

 2 

3


 


3 2 1 4 2



1 3

2

1 2 4 3

3 2 & 1
5 1  3
"

     





p
1
2
1
2   5 4 3 4 5 1 2 1 3 5 2 3 1 5-2 5 1 2


 




& 1"
        


pp
  
3 1 3 2 4 1 3 2
  

   

42

3

       1 3  3
   
3



1 2 3 4 5




17

52

 3 dolce

4 

4 2 1 3   4 4 3 4 3


   
1 2 1
1 2 1 3 5 2
 2 1 2
  

 3    
 4                  
3
2

3
1 4 5

5
3
2

32

1
&






             
  


f


  


 


5
2
3         1 3 2 1  3 2
              
    


 
pp
1 2
1

1
2
 
5
1 3 4


 4







 
     




26

4 5 4 5 4
2 3 2 3 1

2

PRELUDES AND LESSONS

103

4
& 1"
2 & 1 2 1
5



         p     

 Fine
$
f
  



 




   
   





 

34

 
 

42

& "
       

& 2 3 1 3 5
& 2 3 1 4 5

            
cresc.
f

5 1 2
  3 5

   



45

45

43

& 21 3
 4 5 3 
       

45

51

  
3

3 2 3

2 4

 
3

3

1 3

32

    

2 1

 
4

3 4

4
1

42

2 4

& 123
 
32

 

dolce

2 1
3
2




 
 
3

1

5
3
2

5 & 1"

       

3
4
1
2
1 3 1 5 3-5 1   
   

 
3
2

Da Capo al Segno

104

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XXXVIII




MARCH IN THE OCCASIONAL ORATORIO, BY HANDEL


5
2 3 42 3 42 3
24
3
1
1
1
1
4
1
1
2
2
2

     
  
4

 2


32
3
1 2

4 5
2 1

5
3
2

5
3



4
2

4
2

4
2

3 4
1 2

5
3

5
4

      




  


4
1

5
2


     


    


    

     

 

    


3
2

5
3

3
2

2
1

3
5

2
4

4 3 4 5 4
2 1 2 3 2

5
3

1 

3 1

3 4    3 1
5
1 4 31

5
2

         

4
2

3 4
1 2

1


5

1

5
3


    

4
1

4
2

2
1

5
1


     
2 1


5
3

2 1

3

     

 
1

4     3




     

        1 2 3 2 

2 1 4 3  4 3 2 1 5
5



4

 


5
2 4 31

   &  1 "
         

4
1

19

4
2

1

 3

12

      

 
   




  4
  

2
1

2 3 4
4
1

4
1




5
5
2 4 2

4
1 3

1

1

  
   

3


4

PRELUDES AND LESSONS

4
1

24

30

 
 
 
5

5
3


1

4
1

5
5
2 4 2

4
1 3

5
2

       
    
2 4

5
3
2

 
5
4
2

4
2
1

1

  

4
2

5
2

4
1 2 32

       1  1    &  1
  
  

2
1 4 1
5 
4

3

  


4

5
      4     
    
    
2

4
5
1 3 1

105

4
2
1

    2
   

3
2
1

4 3

3
2
1

3
1

       3 2 & 


 
1

2
1 


1



 


  

 

106

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XXXIX
WALTZ, BY BEETHOVEN
Presto
5
4

   2 1 4 2

 43

 3  
4

5 4


5
2
      

     


 
 
 
 

1
       


   

14





21


  

5
  2 1 2 3 5 3  3 2 1 5 4

 
   


 
 
2 5 4
2 1 4

5 4

5 3

5 4   

 
 

5 4 2   
  





 
   

 
 

  

2 1

1.









  
 
 
 

5 4

  
Fine

  
2.




   
 


               1 3   2 2   1  



                            
 


 
 
    2

5
5
5
3  3  2 3     1 4  4 1 4

       1      





        




  

 
 
    

27

5
1 3

4
1 2

2 4

PRELUDES AND LESSONS

107

 
        5    
2


 


















     


        
                        

34

40


       
 
 









 



           


  
 
 

 
 

D.C.

108

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XL
ALLEGRO, BY CORELLI

4  
5 1 5 2 1 5 1 2 1 2 3 5 3 2 1

4
4
2
1
2
1
3


             










2
1
1
4
5
2
5
1
  





  


5 1

5 4
3

5
5

3 1 5 2 1 5 4 1
3

3
3 2 1
3 5 3 1 2 1 2 1 
1 4
1 2 
 
    

       







1

1
2
2
3
1
5
45
 




5 1

5 1
5
 3 1 2 3  3 2 1  2 3 5 3 2 1 2 4 3 4     1 4     


   



2
1
4
5
2
4
5
1
1









5
5
5
5
5
 1   4  2    3    1   


 

 2


3


2

2  4 3 2

       

  1
5
4

 21


1

4 3 2 3 1

4 3 2 5
5 4 5
5 4 5
5

9
  1 2 1    1  3 2 1 3 2 1 2    2    1   4     



1
1
 21
5

5
13
5
4






5

PRELUDES AND LESSONS

109

  2 3 4 5 2  3 4 5 2 1 5 4 1
5  4 5 2 5   2 5   1 5 3 4





 





2
2
3
4
4



 2







11

5
5
5
5
5
 2     2    2    1  4  3 1 3 4 1 5 4 5 2 5   1 5 3 4






3
1
5
2
4
2
 








13

&

15

 2 5       2 5   1 5 3 4 2 5       2 5   1 5 4 5

 




  1


17


4

 2

1

4

 2

5
5
 2 5       2 4 3 4     1     2 4   1 3   1   




1
 

1

21


2

5
5
2 5 4 5 2 5 3 4
2 5 4 5 1 4 3 4
  3     1    1 4 3 4 2 4
     
          




1
5
1
2
4
3


 







19

5
5
5
5
5 4
5


5 4 5
4 3 4 2  4  2  4  3   2
3  3

2



 1
  
 2  1  
1 


4
1
1
3
5
4
15









21

110

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

3 5 3
4 5 4


1
1 4 3 4 1 5 4 5
2 4 3 4 2 5 4 5 1 4 3 4 1 5 4 5
 





   

,
2
1
4
2
1
5
5
4
1
1






23

2 3
1 3
1 4
 1 4 3 4 1 5 4 5  








 
 
         

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1
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4
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2
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3

25




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1
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5
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27

29

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2

  
5

4 3 4

3 2 3

5 4

   2 5 4 5
5 4 5

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1
4
3
2
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1

PRELUDES AND LESSONS

111

LESSON XLI
PRELUDE IN B MINOR

5
2

3
1

 



  













"

"

"















     

  

 


4

Moderato

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GIGA, BY CORELLI

5
5
 12            1     2  3 4 2 3 5 4 5 2 1 2 3  

  

 8

2
 
2
1
1
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Allegro
5 4 2 1 4 2 3 5 3 1 2 4

 1 4 5 2 4 3
     

2
4

 

4

4-5

5
5
4
4
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1
2
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5
5
5
4
4
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3
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1
2

7
1
2
 21
1
1
4

3
5 4
3
45

  

 
  
7

112
11

11

14

14

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

3 5 3 1 4 2
5





 

   1 4 2 1 5 4  3    5 2 5 3    1 5 4 1 3 4  2 3








2
4

 

3
5



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31

5
5
5
 4  4 2  3 4 2 3 4   4   2 5  3 5  1 3  2 4  1 4 5 3 1 2 3  2
 




  
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2

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5
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17
5
4
3


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2







17




PRELUDES AND LESSONS

113

LESSON XLII
PRELUDE IN E FLAT MAJOR

3
1 2




   
        



 
      
  




 
 

Allegro

4 5
1 2



                 


 




 


 
 





RONDO BY C.P.E. BACH

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ten

114

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE


     



  


  
 

1
ff
2 3
4 5
  


26

"

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3 41 23 23 1
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PRELUDES AND LESSONS

52

61





 


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80

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4 1 3
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116

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE




1
&
&

      

  


ten
 


    






    
   
ten

88

5 5 4
1 2 1

          


          

  
       


96

5
1

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138

146






   



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155

165

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" "

    

 
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117

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118

173

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

      




   


181



 


f
              

   
  
    

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4 5 4 5
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224




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233

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239

243

      



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34

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4
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2

120

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XLIII
5
Moderato 2




                             




    

  


5

2
4

1
3


   43 

  

 

 
 

4 2

 


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2 3
     5    1 21 4 5 &
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MINUET, BY SCARLATTI
2 5
1
2
2

 
2

3
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12


   43 
2


1
2

1
3

2
4

3
5



3 4 4 4
1
2

legato


6

PRELUDE IN C MINOR
4 5
5 4 5 5
4 5 5 5 4 3 4 5
1 2
2 1 1 1
2
1
1

5 4
2 1

   



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5

1
4

35

1

 
3

2



            
12

52

1 5

2 5

   

3

1 5

5 2

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5


2

PRELUDES AND LESSONS




 


        

4
1
3
5
4
3


 
 
    

19

1 5

1 5

5 2



5 2

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1
1 5

 
1



1
4

   4 2 3 5 3  &
" 15 2
1
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121

 



122

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XLIV
PRELUDE IN A MAJOR
5 3 2 1 2 5 5

1 3
5
5
     6  2         3     4  







1
2  

5
3
2
1
5
4


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3


 









 
3

5
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1 2 1
3

2 3
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ANDANTE ALLEGRETTO BY PARADIES.

5
2 3" 2"
1
1 3" 1"

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1
1 2
1

3
3

5
5
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5

32


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1
5 "1
3
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3
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32

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545

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1 2
1
3
3
5

 

43


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1

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32


5
& 4
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17

545

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PRELUDES AND LESSONS



(
&
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545

 
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D.C.

&
f
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4
5
2
2" 1
5


         
        





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50

124





"

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

   

+
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58


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66

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f
D.C. sin'
al Fine.

PRELUDES AND LESSONS

125

LESSON XLV
PRELUDE IN F# MINOR

52 1
5
5
5
 2 3










  



 4    1 2
 


 

 
1
,
1
2
2
2
3
5

3

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4

Moderato e legato

 




 
1



 
2

 



3

4
2








3
1

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2
1


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1
4
1

4
2

2

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5
1

34
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5
3

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1

5
2

ADAGIO BY CORELLI.
5
4
5
45
5
32
2
1
23
1

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2
2
&
1
 

45
12


 


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1

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3 1



 



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3
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5
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21

 
4

 
  
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1

34
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5
2

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1

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43
1

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2

4
1







5
21

5
1

4
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3454
1

34
2






20

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

126

& 1
 2    


2 

43

 
2



PRELUDES AND LESSONS

127

LESSON XLVI
PRELUDE IN A FLAT MAJOR
Moder. e legato

2 1
1
2 1
1 2
3
   3







 
  
 4














 
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  3  
 4 



3

1 2 4 2 1

5 2

2
1 2 4
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ff

2
5
  




  





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1

4 2 1 2

2
3




1 2



SLOW MARCH BY COUPERIN.

4
343
#3
4
3
%
%
#
2
4
2
1
2
3
4
5
2
4

         
    

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1 1
2 323
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4

2

       
  

   
 
 

 

5
3
4
Un poco Andante.
343
4
1

 54
121
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2
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43

  
 
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323
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(4 5 4
2
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4
    
  
    



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212
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5 343
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2 1 3 4 4
2
1
2
 
                          



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10

432

1 3 4 5


   

  1 2 3
   

4

128

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

32323 4
4
2
2
3%
( "

5 4% 3 2 3
%
2
1
3
1
3
4
2
1
3
4
 

 

                     
2 3 4
2 1
1 2 3
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2 3
5
4 3  2 1 2 3 2
1 2 3 1



  
      
       
 



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3
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2.

 


PRELUDES AND LESSONS

129

LESSON XLVII

PRELUDE IN F MINOR
1 5
3 1 4 3 2
2

     

 
    
5 3 2 4 3 2
1 3

Moder.e sempre legato


5 3 2 4

  

"

1 3 2 5





    
    


       
3 1 2 3

"

"

     





            5    " 
1
 1 

3

2 5 2 2 1 5 3 1

3 2 1 2

2 1 3 2 5
3 2

ALLEGRETTO BY COUPERIN

  6     1 2 &  1
  8

&
3 2
3 5 1    
5
4
  6   

 8

Pi tosto Vivace.
2
2

6
  &        %   4


1  3        "
 





& 
43

12



1

2
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43



     



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32

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4
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1
2
4 
4
1

2 3 1 2  3



  







2 3

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4 3 4 3232






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43

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1
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3
 


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(
17

%
%








   
      
    

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4 " 35


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1 31


 
 
 

1
5

130

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON XLVIII
PRELUDE IN E MAJOR

3 2 3 5 2 3 1
2
2
3 2 3 4 2 1 2
 2 2 3 4 5 2 3 1



 
      

  
4
1

3
4 3 2  3 2 3
2 3 2 1 3 2 3


43





     43     
  2 
4
3
3
3




 

   
 2 5 4 3 1 3 2 1  
 

4
5
1
2

2 3 4 5
2 3 1

53


&
1



    
4
&
1
2
3
1

23
32

2 3 2

POLONOISE AND MINUET, BY SEBASTIAN BACH

43
34
3 4 5 4
5 4
3
& 1
&
2
1 3 4 3 4 3



 









 
3


4
&
1 2 3 1 3 1 3 2 4 2 5 2 4 1 3 1 4 1 5 2 1 5 3 2
  
  

 3
 
4
Andante

Polonaise

4
5 4
1 2 3 1 2 3
 3    35 1 2 5


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1 2 3  3  2  3    1 2 1 5 1 4  2 1 2 3 2 5

  
 

2
      

1 2 3
4 2
        

PRELUDES AND LESSONS

131

ten
5
&
ten


4
3
3
10
2

1

4
3
1
4
4
3
2
1
3
         
  
               





1 2 1 4 1 2
1
1


  3 4 5 1 4 1 5  2   3    4 2 5 2 4 2 3   4 2  4 2




43

15

%
   

1
32323
 1 2 3   4  ( 5


 

 3 4

 5 4 5

      
3

1 2 1 2
1 2
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21 2 5

 





 
   



 


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4
2 3
14 2
5
1
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1
1
2
3
4























 
     
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1
2

2
1

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1

5
5


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20

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4
!
 3
4

2 3 4 5

3 2 1


       

 

 2 1 2    


 

5 
5
 54
4
4
1
 21
1
2
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1 2 1 5





 




Allegretto

Minuet

3 2 1 5 4

35
1

4
2

4
2

5
3


4
   5  3 1 3 2 1 5 4 3 1 4


1 2 1 5
  








        
3

  

3
2

4
1

132

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

4
5

1 4 5 23
4 3 1 2 3 1 2
3
 5 4 2 1 3 4  5 3 4 1 5 2 1
         
  
























    




13

 2 1 3 2 4 3 5 4 3 1 4 3 2
 
    








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19




1 2 3

4
2

5
3

24
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2

    

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2 1
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5




PRELUDES AND LESSONS

133

LESSON XLIX
GAVOTTA, BY CORELLI

Allegro
5
5
5
5 4
 2 2      2      2 4 3 1 2 3  2 1    2 1   1 3 2 3
 
 
  

4
st

1 time piano 2 time forte.


4
2
3

 2 
4

3  2

1

2

 
4

2


  
5

 2 4 3 4     2 5       3 5   & 2 4 3 4 1             5 4 5 2

43

1
 

1

 2

    2 &



32

11




 2

1

2
3 1 5  5



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p
2
1
5
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134

CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE

LESSON L
PRELUDE IN C# MINOR

45
23

 





5
3

Moderato

dolce

 


3
5



23
45



45
23

       

4
2

3
1

1
3

2
4

2
4







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1
5

4

"
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5
ff
2
  


 
  





5

p

 
p

 


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3
5

3
5

 

3
2

 

1 2 3 4 
3  4 3 2 1 2     
1  4 3 2 1 2 3  
 


  
Fine.



       
1
5

"

3     1 2 4 3 2 

Moderato

4
2


 
   
 





MINUET, BY DR. HAYDN

ten
 2  3 2 1 2 3 1 3 4    3 4 2 
3

  

4
1
1
2

4 3  5
2 42



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4

5
1


      
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1
21
 5 5  42 13
    

 

4
1

5
3

3
1

2
3

3
2


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5

 5 

1

  2
4

3 4

1

PRELUDES AND LESSONS

135

3 
   1    3          1





 
 

 
2

3

3 



5






   
  




13

18

 1


2
5

  


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2
ff
4
 
 
4
2




  


5
5
3  4 3 2 4   1 3   2 1 
 
1
 
    




  


   
 




D.C.