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The Elements
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O
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PREFACE
Many of the exercises contained in this little work The "Notes to the Teacher"' perhaps require some
are purely preparatory in nature. Others are for occasion- apology. I have given them for the sake of the many
al or special use. Only about twenty are permanently teachers who, not claiming to be accomplished perform-
essential. All are necessary at some stages of study or ers, gladly recognise the value of occasional hints from
to some pupils, but the teacher should not hesitate to a practical pianist. These notes, it is hoped, will also
omit 'as many as can be spared in each individual case. be of benefit to advanced students.
Preparatory exercises, for instance, such as Exs. 1,2, 11, It is not for a moment pretended that this short treat-
16, 20 - 26, etc., may be discarded (except to correct re- ise is in any respect startlingly original. No particu-
lapses) when once they have thoroughly served their lar "method" is advanced or defended. I have merely en
purpose. deavored to bring the best ideas contained in a larg-e
Tt has been my aim to reduce the exercises to the number of modern works into a small compass, discarding
greatest possible simplicity and to give the most ex- everything unessential and repetitive. Some of thebooks
act directions for practising them properly. The form which have been consulted are: _
of an exercise, however, may often be modified with ad- Zwintschcr, Technical Exercises.
vantage to suit peculiar needs. Kullak, School of Octaves, Book /.
'Advanced'' technique is altogether excluded, because Maria von Unschuld, Die Hand des Piantsten
I disbelieve in the necessity or expediency of spending Malwine Bree, The Groundwork of the Lcschetizky
time on it. To the pupil who has really mastered the Method.
elements of technique, the studies of Czerny and other Moszkowski, Ecolc des Doubles Notes.
composers supply all that remains lacking in mechan- Schmidt, Das Pedal des Pianoforte's.
ical equipment. Busoni,.Afrfe.? on Bach's "Well -Tempered Clavichord!'
G FK 1
GENERAL DIRECTIONS FOR PRACTICE.
1. Sit before the middle of the keyboard, About so high merely to repeat it mechanically.
that the elbows are on a level with the keys, and /kn 6. Nearly all the exercises in this book are written out
ward in your chair. The chair must not be too near for the righthand only. The left hand is to be played
the keyboard. an octave or two octaves lower, as the teacher directs.
2. Do not stoop. The upper part of the body, indeed, 7. Nearly all the exercises are meant to be transposed
may lean slightly forward but the shoulders should into different keys, keeping the same fingering. Those
not be rounded. Do not mtke faces. not intended for transposition are marked C. It is a
3. Watch your fingers as you practise. good plan to choose a new key every week, or every
4. Listen to every note you play, and judge whether it three days if preferred.
sounds well or not. 8. Practise slowly, and usually with only one hand at a
5. Try to improve whatever you are studying, not time, at least until you know the exercise thoroughly.
-
SECTION I.
Exercise 3.
Exercise 1.
«fc v«t
*
Directions: —
i
and in vertical position. 1. Lift and drop the fingers with the greatest pre-
2. Keep the wrist low and slightly outward fromthe cision (see end of Note 4), counting "1 and 2 and
body. 3 and 4 and". Keep the fingers well curved.
3. Keep the knuckles rather high and firm, so that 2. Hand- position as before. Read again the direc-
the hand will be slightly arched. tions for Ex. 1.
4. Do not let the hand slope downward toward the 3. Avoid stiffness. The wrist may occasionally be
little finger.
raised or lowered to ensure relaxation, but not
5. Hold wrist and arm loose, and let the weight of
with regularity as in Ex. 2.
the arm rest on the finger-tips, keeping the notes
A correct performance of Exs. 3 and 4 is often so
steadily down.
difficult to beginners, especially to children, that it
ft. Separate the fingers from each other. Hold the
may be necessary to use the following preparatory
thumb well away from the hand, turning only the
tip inward.
exercise: —
This may be called the Normal Hand-position.
Exercise 3. A.
Exercise 2.
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4
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g^irr r r r 3=gg
Directions: —
1. Lower the wrist at n, raise it at V: (these signs
will be used in the same sense throughout the Exercise 3. B
Exaggerate the wrist -movements at
volume). first:
2.
afterwards moderate them.
Keep the weight of the arm on the keys, holding
them down steadily with the fingers.
^^
3. Hand-position as before.
This exercise
with correct hand -position.
is meant to combine looseness of wrist
^TTT^gg m i m ;x J J J J
6 F. K 1
6
ten to it carefully.
Exercise 6.
These exercises should be discarded as soon as Ex.
3. can be played without stiffness.
Exercise 4
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fcrrriyrrfrrrrre ^ Directions: —
1. The same as for Ex.5, but take care
(or four) notes of
that all three
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2. Hand -position as usual.
3. Practise first with each hand separately. Observe
the fingering. which is the same for ail keys.
I
d)
13 2 33445
122 3
Directions:
1. Hold dftwn
—
all the fingers except the one about
a>
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*¥ HP
to play. Keep them Curved, and watch them.
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2.
3.
Play legato.
er,
Practise slowly. Begin softly,
increase the tone, always avoiding stiffness.
Lift the fingers with precision. The fourth'
lat-
and
b)
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fifth fingers may be lifted more than the others,
but the thumb should be raised very little. Directions: —
Drop the arm on the first note of each bar lift it
5
^mmtntr\-m& 1 z 3 4 5 legato,
_
and
w J*Ij*I jMjI isparticularly instructive (though far from dif-
ficult), because it contains the germ of proper phrasing.
/
Directions: —
Exercise 8. 'Legato.)
1. Drop the whole arm (not merely the fore-arm)
on each note: raise it at the rests. Be sure to
let the elbow rise and fall.
2. The wrist must be very loose and yielding. The
fingers should move very little, always staying
quite near the keys.
a fk i
5 4 Practise slowly. Only d) should ever be played fast.
4.
m
3
3
?
4 6
S p g P i
3 4 5
S *tfc.
This is a. most important exercise, and it should be
practised daily with, the greatest care.
8 3 4 2
12 3 4 Exercise 9. (Hand- staccato.;
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Directions: -
1. Use the whole hand, letting it fall sharply and
rebound rapidly. Make the notes as short as pos-
ppi-frmg 2.
sible. Practise lightly,
Hold the wrist and elbow a
without weight.
trifle higher than
usual. They must be perfectly loose.
3. The fingers should hardly move.
4. Practise a) in octaves also. In b) and c) the two
notes must be exactly together and equal in tone
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B§ cjir.r i c^ a
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Exercise
i».i..J^ JW JW JS
10. (Finger- staccato.)
h JVrrgT
Directions-.—
1. The binding must be perfect. Observe the differ-
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2.
ent fingerings and use them all in turn.
Attend carefully to hand - position and finger -
:
p j 1 j g j p
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action. Watch the fingers to see that they lift and —
Directions:
curve properly. When the curve is sufficient, the
Keep the hand quiet. Use the same finger-action as
player cannot see his finger - nails.
in Ex. 3, but short and sharp. Lift the fingers more
3. The tone should be pure and singing. Gradually
than usual.
increase the strength, always avoiding stiffness.
SECTION II.
*#/
Vn Vn Vn Vn Vn y n V n .. \ n
^
The fingers need not be lifted very high.
and
S
Exercise 11 has two objects, looseness of wrist
production of singing tone. All legato melodies are
played with more or less of this
motion, which
up-and-down wrist
maybe exaggerated for purposes of study.
•;
J * m^
i i d M * etc.
Exercise 12.
In all cases, observe the different fingerings, and
do not forget transposition into other keys.
Exercise 14.
T
Directions: —
Continue as in Ex.11, but with less up-and-down mo-
a
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Exercise 15.
Exercise 13.
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4 4 a 3 5 5
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etc. to\
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5 4 3 2
b)
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— * m etc.
In practising Exercises 12-15, do not forget
has already been learned. Keep a good hand- position;
use proper finger-action, attending particularly to the
what
curve and lift of the fingers; hold the arm and wrist
c)
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loose; and listen to the tone. Gradually develop strength
and speed.
>
That is to 9ay, turn it
G.F.K.l
-
We come now to a form of action which is often ments until the fingers hardly leave the keys and
a great difficulty to beginners, viz., the Tremolo. the exercise is performed entirely by a slight but
The following preparatory exercise is useful. rapid shaking of the arm. The fingers need not be
so much curved as usual
Exercise 16.
TiY
4 & "T" T Exercise 18.
t T T T vT Tr
r r f r
f-
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Directions: —
At a), thumb as high as possible after
raise the
each note by turning the hand and wrist bod-
Up, holding the little finger down as a pivot. At b),
Exercise
the thumb down as a pivot.
17.
h)
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flfi Jp Jjp jj/
Directions:—
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Directions: —
In Ex. when playing slowly, combine the motions
17, This very "stupid" exercise is included because it
of Ex. 16. a) and b). The whole arm will turn slight- shows a form of Tremolo -action very common in Mo-
ly to and fro on its own axis: it must be perfect- zart's and Beethoven's works and often troublesome to
ly loose. Increase the speed and diminish the move- inexperienced hands.
SECTION III.
SCALES.
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10
2
3 them
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4
>t<^f\fe^ff
a=y ,
^ in position exactly over their
Preserve looseness and good, even tone.
proper notes.
2.
not be in the
Count four.
place the thumb on
least. d*»ar«A
2 2
a
a)
2
i
o o
2
3 3 3 3
second beat; play P at the third beat; and let the thumb 4 4
return to C, touching the note, at the fourth beat.
Treat Ex. 20 b\ c), and d) similarly. Directions: —
3. Do not lift the thumb from the keys; let it glide from 4. In this exercise the thumb is immovable.
note to note. The motion must be very rapid and pre-
2. In Ex. 23 a), play g at the first beat; move the
cise.
j>
4 Keep the fingers properly curved hand to its second poeition (the fingers over A
5 The small crosses indicate the moment at wnich B G
the thumb must move; they will always be used in at the second beat; play A at the third beat; and
G
this sense in future exercises.
return the hand to its first position (fingers over
6. Play each repeat many times.
g) at the fourth beat. Treat 23 b\ c), and d)
^m 3 3.
1 l
as far outward in the second position of the hand
't 2 * 2
as in the first. Observe this point most carefully,
for the correct movement is not easy. The thumb
must yield readily as the hand passes over it.
4. The moment at which the hand should move to
its next position is shown in this and the suc-
9)
v
Exercise 22. C.
ft 12
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r r r r 11
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1 2 3 4 4 3 2
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M l=rrr Directions:—
r
In each section of the exercise, keep the thumb im-
movable over its note. Avoid twisting the hand, and
Directions: — move it promptly at the sign o. Let all the fingers
As above. Be sure to retain the outward position keep proper positions over the notes next to be
of the wrist throughout. Curve the fingers and hold played.
G F K 1
—
II
B 5 s »
4 4 a
Exercise 25. C. Exercise 27 a).*"' a 2 2
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movements. No new directions are required, but all those usually a source of much distress to the bejriiMi<;r. And
given for Exercises 20-25 must be remembered. yet it should not be very difficult, providod tiiut scale-
formation is understood. To begin with, do not think
about the thumbs or where they come in the scalt;.
Exercise 26. C.
Ifyou only remember where the fourth finger falls
1231 2341 2 14 3 2132 you know the whole scale, for the fourth finger is
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used but once in each octave.
The easiest rules for Scale -fingerings are,
ously enough, little known among teachers and
curi-
stud-
Q 3 1 &
3 §
3 , 4 1 2 3 J, 3 2 1 4 3 2 i
ents. In fact, have never seen them given in print
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X) ~ O X o x
as follows:
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W=¥W Right Hand.
p i rrf 1. In scales beginning on a white key (except the
18 3 1 2 3 4
'a 1 4 3 2 13 2
scales of F) take the fourth finger on the seventh de-
ox ° x
-*>- gree of the scale.
*=F
J • ^ 2. In scales beginning on a black key (and the scales
3123r~ir*'*'3 ^12
i
j18 21 4 3 2 1 J
of F) take" the fourth finger on Bb (or J# ).When
there is no Bl> (or A#) in the scale, take the fourth
The complete scale may now be attempted. By this finger on the second degree.
time it should present little or no difficulty.
Left Hand.
1. In scales beginning on a white key (except the scales
Exercise 27. C.
of B) take the fourth finger on the second degree
A 12 31 2*41 2 3 l£J#fA Ig l
j 2 1 48 . *132 of the scale.
2. In scales beginning on a black „key (and the scales
f -#• o x o x o oix
^ TC
o or* *5T^
of B) take the fourth finger on F% (or G\>).When
O X O x o there is no F# (or QtV) in the scale, take the fourth
•) Quofed (with a slight alteration) from Miss von Unschulds book. "Die Hand des Pianisten."
G. F K 1
, * —
12
R. H. 4 th Finger.
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it" l a 3 i 2 3 4
White notes' (except P) VII \t , 7T~1 3=*
<t*=£ etc. Not etc.
(B!> (AH)
Black notes (and F)_
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the rule in descending.
out
It is quite unnecessary to have the scales written
and fingered for study. After a
ary explanation, all that the pupil needs
little
is
prelimin-
a slip of
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ever,
I
of teachers who prefer to keep to old methods,
give the scales in full at the end of the book.
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The irregularities of fingering in beginning and
ending scales are so convenient to all players that
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they are never a source of trouble.
for the sake of completeness.
I mention them
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1 In all scales following the white key rule, the
fifth finger is used for the final note in the
right hand and the first note in the left hand.
This avoids unnecessary putting under of the ^^jgga
thumb.
2. In all scales beginning on black note* the first
note in the right hand and last note in the left
G. FK 1
1
13
m^
do and diminuendo (usually crescendo upward and dimin-
uendo downward). Staccato, both of hand and f inger,may
occasionally be used. Finally, they must be practised in
contrary motion.
The diatonic scales must be practised daily. Their im-
*-d
5B£ portance in technique cannot be over- estimated, and ev-
ery pupil should have them literally "at his finger's ends'.
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Of these fingerings, No.
placed on every other white note,
I, in which the thumb is
S
is far the best.
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3 1 3 2 13 m 1
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No.ILis useful in a moderate tempo
is needed.
when great strength
SECTION IV.
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a
a
5
3
r
ill
5
8
P ft
V
v V
v V
v V
v <tfc.
Up
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Exercise 34.*)
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Directions for the above Exercises:
1. Let the fingers remain on the keys throughout.
Use the wrist as indicated by the signs n, and V
in Exercise 29, most frequently as at a), occasion-
ally as at b).
2. The chords are to be held as long as possible,not
to be played staccato.
Exercise 35.
Exercise 32. 5
5
5
4 4
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1 z 1
1 >
5 5
fc * *
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i
1
a
8
1
s
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Directions.—
1. This is a preliminary exercise for broken chord9
2 4
4 5
5 4 It is to be studied similarly to Exercise 3 (see
5 6
Section I), except that the fingers cannot be
held quite so curved except by large hands.
2. Use corresponding exercises in the inversions of
4
2
% ft « Hi
3. Various positions of seventh- chords may be stud-
ied in the same manner.
*> Ex*rci»e6 33 and 34 mast be omitted by young pupils with small hands.
9. r. K.i
—
15
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Directions:-
i
The same as for ordinary legato exercises.
the wrist slightly outward in approaching the notes
Turn
2
4
xx
marked 3.
Exercise 39. C.
Exercise 37.
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Directions:
1. Drop the wrist slightly at the first note of each
Ir 3*2 I
32
group or figure. Turn the wrist outward when
2.
the fifth finger is used.
Exercise 37 should be practised with varied ac-
cents, thus: —
12 3 12 3 3 3 18 2
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^=^
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Exercise 40. C.
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Directions: -
1. Exercise 38 may be omitted by pupils with small Exercise 41 is to be transposed into all keys, subject
hands, but not without a trial, for it is far less to the following _
difficult than at first appears.
Rule of Fingering.
2. If the instructions for scale - preparation be re-
only requisite
Always put the thumb on the first white note
membered (see Exs. 20-26), it is.
of the chord in the right hand and on the last
to consider the modifications made necessary
white note of the chord in the left hand (ascend-
by the greater stretch in Exs. 38 - 40. The
ing). In the chords of G flat major and E flat min-
wrist must be held very far out from the body,
or there no white note, in these cases keep the
is
and even the elbow must be held further out than
fingering of Ex.41.
usual. Some little twisting of the hand will be al-
most unavoidable. The fingers cannot be curved In studying arpeggios, proceed as usual, from one
quite so much as in the normal hand -position, but hand alone to both together, from slow to fast, from
the curve should be the best possible. soft to loud.
Contrary motion need not be used. Cresc-
3. Exercises exactly similar to Nos. 38-40 should endo upward and diminuendo downward may be freely
be used for the other positions of the chord:- practised.
6 The following exereise
5 4 is so useful, and contains a
4 2
a 1 technical passage so frequently found in piano music,
s
*
l
that cannot be omitted:-
* Eft
-o-
it
Exercise 41.
T gfliM g
m mw
'ir
jJ iffl
^1IP?
is
rw
ff The above fingering is to be used whenever the notes
Right Hand:-
4 *^
«J »825BS^a*514l32& &28i416a"*iy 5 2 3
1 4*
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( jj Pill I
etc.
|pg etc.
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fijf
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(For Db, AK Bb major and B, Fjf, C#, G$ minor.
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SECTION V.
Exercise 43.
Directions:-
4 4
2 3 1. Hold the wrist slightly in toward the body in the
:
measure, particularly at the point marked
ir^ -u «* i j i
first c.
f f f •
f= This makes the very difficult legato easier. In
Directions:
M* ft E jjp E * n* ^ 9 ^p ^ "II* ff ^» ^p E it » » 3> *
II
^
Exercise 45.
J j i \ J j
iinni i
121 ^~ r
3 4 3
2
|
i
3 4
i' Llj * j j ^ ^r^i-"
G F. K. 1
18
Exercise 48.
f t f f it it ? t it
^iiii Aj
a
;
\
\ . y \ .
\ \ t \ \
jiim qi
tjjed i jjcjiy a
Directions: —
Here the thumb must slide from note to note,which
is easy from a black note to a white, fairly easy
i &g
^
4* »g 4 5
*+
4 3
5|
*
3 ^i 1
4 3 4 3 4 3 , 4 3 4 3 4 3 , 4 8 4 3
i * 1 * i
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Exercise 50.
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6 4 5 4545*5454
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5 3
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Exercise 54.
f
*?i 8
2!43|43 | J 2
3 4 5 8 4 6
1 i 2
Exercise 55.
Exercise 52. C.
a)
a iti
l ii
li li
ii ii
li ii ii ,tl -LL-. v
19
Exercise 60.
• , 5 4 8 4 6 4
f | 8 2 f J 8 2
i Jjjffi
Bsb^
For chromatic work in double notes the following fin-
gerings are an excellent preparation: —
Exercise 56.
8 4 i s 4 1 5 Exercise 61. C.
8
2 1 2^^2 1 2 1 * *. 2^2 i
a)
P i f i' «' i
r
£.2 4 3 *24 - 2"~2 12 a 2^* 2
Vx
12
m
* , 1, 1
±+*
etc.
I pp iju jj * rip
*T**t
;"• -i«*
8
» 4 a
8 4.58484345
4
g gi frfc=p
fl
m etc.
4)
p J
Exercise
8 14*5
155 11**1
*£J
57.
1 8 1 4* 5
, I. 6 5 _
L
4 6 4
*
-
8
» ,
4 ,
I
8,
I
4
\ 8 4 8 4
m
'% rr
ss o)\ *uJ r
»
r r i
fr r«r ir'r
4 14*14 i.i 4 5 4 s A .
s '^rV rVr'T rr'Tr ^° a
4fJ g
i i
Exercise 58.
i %
45
IS
rrn L
5
4 o
v*~^
gwg
S 2
1>~^ >—>
*
^1
1 4
\
8
c
1
4
%
8
fc^Ei
4
S
rr 8
a
4
if
1
4
8
in
£
5
"4
r'rr
8 4 T^
chromatic minor
*
8
:
B
||
^
£
4"
u
a
'
Exeroise 62. G.
R'H. 8 3-^4 ^4
2 1
2 1
• i 12 4 5
2^ v
2
3 4
2
8 4 5 8
g^8
i%
2 1 5 8 1 1 1 , *, l
5 4 »*
5 4 P ' 111 = «
3^
*l *, I I *l I .
i jgg?»EEEr*bEcF **
^|pjp
a 4 * 4
a^--i 8
? i
S »
3
1
i
4
.*
i*
5
».n
»a* a
3 4
^
Exeroise 59. =
8
ft.
2£ 2
L* 1 ,2 f %
2 ?
? —
4 ^^8
foEEjEHtiiHEi tt'EElHF 1
&=hk
1 f
i
dy*"!* . .topeV
^8 4
|2 1 2
8 6
i ? t^l 482 5 4
*w*
1 1 2
np
.
1
fe*4'
>#
' '
,
»K.l
P— « —
20
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X4 —
7"
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3
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a
4 a
3 5 4 3
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4 8
t
4
|>
a
8
1
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fltrw^'j
M 5
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g^
5 l~f 3
1
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4
4
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8
1 1
4 3
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£
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B. OCTAVES.
4M
* v
J FFF
t==m
3E*3|1 ~rr
f.
^ J > f g
a
:
/
j
h.
f F
Ji
3 . >
ywy
, ;
b)
m #——
fa J> »
f^f
£ j^iy
i TvH^ftip P iil
ihhvt * ==»
;/
I^-Jv
s ^ Directions:
1.
—
Bend the tip of the thumb inward when playing
on a white key, so that it cannot strike two
notes. The little finger must also be curved, for
the same reason. The middle fingers should be
h=Jh=*&=nL±k=2^
c;
i*nf 31
j > i
i* e? fiH held well above the keys, so as not to touch them by
accident; they should be at least somewhat curved.
2. The fifth finger may be used throughout No. 63.
^ *— *
f
ff* F^ 3. In alternations of black
white notes farther up the keys than usual, so
that the hand will not have to shift its position
greatly when moving to or from a black note.
and white notes, play the
P ^-te
r ..!r r — 4. Take care that the elbow is loose: it is very apt
pplpgpplil
*f - . -
5SE3E
i
to stiffen in octave playing.
^
Exercise 64. C.
n V " V n V
4
feg * b. h-uh ^H^ 2=
*l
i F §^ • |M*
fc * m*
i- l "1
w zn&
f
<? fc
t>«
g
4*
=R
O.F.K.l
—
21
Exercise 65. C.
ips
t-i
mm dzz i
j i * 4JiJ
The concluding exercises, Nos. 68 to 71, are of
general usefulness. Take the fifth finger with every
octave, and practise staccato.
Exercise 68.
Exercise 66. C.
v v » uv; j*K-.4
jg g < (»
s-ts
i * |*E==g^
$ P I
n V
Exercise 69
V n V.
zc
^Ijla
SE:==£=5i=£E£!Z=s=:kE:
i «H*S*
is
<S-»<5
£ E==|
V n .V n
3 3¥= • 3S * *
I ~& ** I
9-
3p *#* St-
5 ?
¥ Exercise 70
n ,V n V n
3 V OS
i tEC €->« TSZ
*&—*? 5c -s* 3=5 *• T&W S
Exercise 67. C.
^
v
n * 2
6 4 v n
_ V V jb * s
5 A V»
n
mm i
6
i rr if ffrr I rj siN
|^ g 1 1 i
Directions —
Exercises 64-67 are to be played legato. After what
iz=B
has been said in regard to Exercises 52 and 53 they
should require no further explanation. In No. 65, the
slide will be helped by drawing the hand sidewise.
Diatonic scales in octaves be practised with the may Exercise 71.
up-and-down wrist -movement, up for black and down
for white as a general principle. No fixed rule of fin-
gering can be given, but the following examples may
serve as illustrations.
51 *| 5 *
4 * * i-il* i* 64
£
iMN %f P —o 1»F
r£ #£ *(8)
P#«
These fingerings are for legato, of course. In
tK >— ff S W^
staccato use the fifth finger throughout or the fourth
on all black notes.
* Large hands may sometimes use the third finger in legato octaves.
G.T.K.1
— f n i
22
SECTION VI.
SPECIAL EXERCISES.
portamento in sixths.
ipp 22
22:
f- \
f I Exercise 74.
s
ll
f
Jfcaoi
Directions — »-+-» jjjj j'o' I
1. Hold the finger perfectly straight and stiff.Keep
the knuckle as high as possible and force it still
higher 0) by pressing upward from the finger
Never mind if everything is stiff; but remember
r ——
many times i
M
i i i i 1
2 Practise with the fourth finger also; with the
others only if necessary, and in no ease with
=
the thumb.
Directions:—
As in Ex. 73, but practise portamento.
Exercise 73. It is also very helpful to watch the thumb closely
6 in practising chords.
"C
xx= 33=
i '
trr r r r r 'Cf f r r r
For 8tretch.
5^
3JC H Exercise 75.
1£? ' ^H
fffrfff *grr r rr r "
Fingerings:- 1,3.4-
m^mP i
etc.
'r-y l
" |m__ I
'- 1
S
^
^r^jnTQ^P etc.
Directions:— 4 5
Easy — «,8.
Practise as in Ex. 16. 4 6
1. Less Easy 2. 3) 4-
2. Hold both joints of the
the hand, bending only
the wrist well outward
two points are difficult
thumb well away from
the tip inward. But keep
from the body. These
in combination.
% a ft *r$
=g=s
mm etc.
U.P.K.1
—
28
ijj}iiJiiJ'Tij k
In ail stretching exercises, beware of over- strain-
«
ing the hand, for some little stiffness is inevitable at
best, and the muscles may easily be injured by too
Easy Fingering: — % much work of this kind.
Less Kssy:-^5 ?
f
a ars
4 I Fs4f [Lif pj.
3t
0/fc.
For Variety of Tone.
Exercise 76.
4i
3S
6/A
j~i;JJ
Easy Fingerings: — f t f
Less Easy:— j j
fiL
$ S: «/fc.
Directions:—
1. The number of notes played is immaterial, but
the more the better. Make the crescendo and
diminuendo as gradual as possible. Take care not
*>
W
I
y=a
Fingerings:- f,*
«fc3*
e/c.
2.
to stiffen at the ff.
Use all other fingers in turn, as in Bx. 3.
This excellent exercise gives great power of control
over the tone. It is not easy, and requires patience and
a considerable exertion of will.
a
^fesi
9
* *"*
a
<s
p
a
gp
£/&
Exercise 77.
^jJJJUJJJ'lJ'jJJJUJJJlJp
p.
Direction*:—
1. Swing the whole arm freely, so that the elbow is
high and far from the body at the sign /, low and
near the body at \ This is for the right hand; re-
.
verse the signs for the left hand. Of course the rr^JJ jj'i I
3.
against too great a strain.
The stretch at e) may be increased by one note- for
^jjj^rrH^Jj' ^* '
large hands.
Stretching power may also be developed by holding the
hand in difficult positions until rather tired. A series of
positions from normal to very extended, say
»j J
rr tfrmrrrrrr* rrTr^rrrrr i
may readily be devised to suit the particular hand.
G.F.ILi
X
24
q
—=====Z. f — p sempre
For Polyphonic Playing.
The following exercises will be found invaluable
as a preparation for polyphonic playing in general
and the Fugues and Three-part Inventions of Bach
*)••
j^frf^rrrf^ltj^rrrrrrr^ in particular.
p sempre
Exercise 80.
J
fr-^-^21 *f
* 21 21 12 . 12 if 12 ,
12 na a
^rrrrrrrff —cr 12 12 12 12 ft 12
12 « ^ ^
y j£ ^. g
y si
21 21 21 fi ft
ft fl
V f = £ i jfi fi
For Velocity.
Exercise 81.
!j[
%etc
Exercise 79
e/c.
Each bar at feast four ttmei
21 2l «/<•
4* 43
12 etC
34 34
41*
/• z *
m m
m |
' i F ' etc.
- P— 1
45 AK
45
54 54 12 , e/e.
*.,,.
21 21
4 3 3 F
etc. fe£
$
etc.
21 2~1
12
45 45
"
12 efr
t* 54
fei-jflgJjl^P^ p^ l
SS^^
V * *
e/c. = =* e/C.
^N 54
JS
54
l>
«,,,.
'"
e/fc.
1
54 54
P
'"'
mp
<?/p.
w 4=* p/f - ..
m p '
P "i-
I
_d
f
£/V?.
Presto. ^V- T 3T
Exercise 82. ^^ ^
3 4^3 4^3 Q Q, £* 4. 8 4, 3
f TT
Similar exercises should be used to acquire velo
*l O a' 4| a. 4 ;,
4, 3 4 3 4 3^~4
N
city in scales and arpeggios (see Note iJ3 >
o r.K.i
— 1 1
25
Directions:—
il^Jj^r-Ojj
3 ' 2 ,
Hg
'
'Him *? *J *.3 * 3
IT 4 3
i
4 3
i
4
V
3
i
duce the difference of tone simply by throwing
weight on the strong note.
Exercise 84.
4*,* 4 5 4 ? *,» fn A 5
2
5 5 4 8, * ^
m f* 'f "
°. !
II
1, rJ-^ 4'i
A)
Iff?Tg^
1 4
T e/e.S
i? *^
§ 2 i
p
*i 2 i
«& « '\
f
I
!
"
'•
j
21
O 2 1 21 21
^^M¥A
3
fa i
r* *j
a
6'/C.=F
£
JSL
™ J
^
C/fe
*>
j=j- !
k TE EEIEJ
B g
^
"TrrFfCr?
\J
'5
54 5 4 5 4 5
Directions
1.
—
Change the fingers silently after playing, as indic-
C)
^u* u i p 1 i i i *m
ated. This can be done in a much quicker tempo
than one would at first believe.
2. Ex. 80 is to be played with other fingers also: 32,
Exercise 85.
43, and 54.
Sliding fingerings (as shown for the thumb in Ex.52)
and the putting of long fingers over short and short
under long (Ex.53) are constantly needed in polyphon-
fe,jNJiJnrnrnH ^i^j i
For Melody.
Many beginners have great difficulty in "bringing Exercise 86.
out" a melody when notes of the accompaniment are
to be played in the same hand. I have found the follow- i jg g 3d
ing exercises extraordinarily useful. I P I
(Accent the other notes in turn, as in Ex.84 )
Exercise 83.
Exercise 87, remarkable for its difficulty and inge-
—
a)
PPI 1 1 pm 4 iipp 8 1
nuity, is attributed to Carl Tausig:
Exercise 87.
(With l y% and I )
W ~& —&&
i
>) ^=pE ^m^ i i tif^ i
For Pedalling.
4- % tr
*
»
c>
f^i4=4^=H^^-^ Exercise 88.
Count.
(With \ andf)
¥ mt - \r<*
i
-
d)
m— & &- "F ^FpF^mm Pedal.
ffl!
1
^
I - g I
gl I g , p>|, p| ,
, I
^, ||
G. P.K.I
— —
26
Count.
For Polyrhythmic Passages.
b)
iW^ * * * ff *
*+-r
Peaal
*T *-r i-f- Exercise 90.
(^13^ 37 cj I M §p
fife^s P $ P * m*
Pedal *r +r ^~T +T < i j JT J
^ I
Lr gff^
5
2
1,
5
2
t
^jXUJ^IgfJl.J^i'
*;
i;
) 1 1 f
i r f f
Directions: —
Avoid playing: —
Pedal.
7
p
v
f
7
p
y
r 7
p
v
i
?
7
P
v
p
3 J 1 ffl |
jg J" j
jy j I K
Exercise 89.
Exercise 91.
«j
i je^ 331 .2 2 222 222 2
Pedall
<£ 1©
•—
xr
&
-o-
&"
<*)<
i
£
Count
^^
1 2 and 3
£
e/e.
r " r f r r ^ ^
=
Pedal. A> Count
g 4 r 1
5
Q
*;
Xh =S= xF ^8r J
s j j jfi
r-^r i j
—«-— i
Pedal
Remarks: —
™ fjh-
I©
|S>-
c;.
Count
F
3 i
1. Simple as these exercises are,, they contain the
whole principle of "syncopated" pedalling. They
should be followed up by a systematic applica - «u ^
i J ,J
p r
3
tion of the principle to some simple piece or part ,
of a piece. i i
2. I have adopted the excellent system of notation
proposed by Schmidt-* for marking the use of
the pedal. It is the only really exact notation.
f r^ »
* „Das Pedal des Pianoforte.'
O.F.K.l
^ o ^ I
27
,?
*< count 1 ahd 3
2 ajid etc.
|p£
9E^
F^^ ^^£
m m
up^^ etc.
2 2 2
i
2
ma?iy times
2
1
2
WiU 4j U
«; Count
t 3" ^ The Least Common Multiple" method of combating
polyrhythmic troubles is very mechanical, and should
3 BE FIT
3 be used as a last resort only But it is very certain.
Taking the example already quoted, the manner of
practice would be.—
¥m
n Count 1 2 3 4 5 6 12 3 4 5* 123456 123456 etc.
m
/* Count
iSE
£
S 9-1 fefei 1
FTT
,i For Trills.
i J jj
i
* rJ 1 Exercise 93.
•—
s ^£ ^
r
Directions: —
Count throughout. Do not let the ugly sound of
No. 91 c) and /) frighten you.
Exercise 92.
R.H.
R.H. many times
rp m<m^——- f— i m^I ^^1 ,
rT n
.
a
I J a~ —p—
- . I
j B
£#fc= tps r) J rJ J 1 jL r) 1
I
^ ^c
Exercise 92 can be applied to
L.H.
mm *—*=-
m etc.
c>3
A; 2
1«; 1
^JJJJ
4
3
2
1
and then: ~
6)
S^
J
ff-J^hf
3
2
¥
5
4
G.F. K.l
1 p
•
28
Q821881
arm shake
Wm
2 Let the slightly as in the Tremolo ac- 821 821 etc.
Directions:—
1. Draw the hand directly outward from the key-
^m 2 8
Exercise 95.
'>
P **^ 4 j £ L v
V V Vi
k°
^tf *; k
jf J*
'" I
>
m fif
jj
&
if J
if
fr
«f
ft f¥
jcs*—4
<st-i ^m
Mpft &m *$j^gm
Mm
V
-
i>
/
U^—rra
«f if
*-+-&
if
a:
I fF^T i
if
m
*>
ffitif j
For
piiii *> ^ jp ^jt^i
trills in thirds, the best fingering is usually
mU
Directions:—
Jjlri
1 2
3 4. but the following are often useful: Begin with the wrist low. and raise it a little,
a}
f4<n-\ H t^PM tn
»
Exercise 96.
*>
f ip § « :
-'
i H JTj jjJ
n
w, i"
n
:c :e :e jl 4 #
*
<i 4*
For Repetition.
HP •— » e/c.
V etc
Exercise 94.
q 212*2121
2 1 a 4 2 1 a 1 *_*
* «*£. «— tfft?.
a)
IPP *—
f
n v «*«
2 1 * 1 2 1 * 4
f
I
f
il riL r: =f
f etc
6.F.K.1
..
29
SECTION I
G.F.K.l
80
hand, it is justly urged that smudginess often results The author strongly insists on the necessity of us-
from over-indulgence in the close touch. Why. then, ing the weight of the arm in the production of sing-
should we not recognise two distinct forms of ing tone. This weight must be concentrated on the
Legato,
finger-tips, but entirely without effort— exactly as the
one suited to melodic playing, which the greatest
in
intimacy of binding is essential, and another preferable weight of the body rests on the feet in standing or
for rapid passage work, where clearness is most needed?
walking. The following points are deserving of the
teachers attention: —
I may remark that in my experience it is easy to
acquire the close touch at a late period of study, but
1. The use of weight is the most economical means
difficult to train fingers to lift well unless one begins
of tone-production, for no effort whatever is
required.
early.
The dangers of the close touch are best avoided by 2 The weight of the arm can be used in any quan-
G.F.K.l
:
31
Note 7.
It is. indeed, theoretically impossible to obtain an The elements of Technique— hand-position, finger-
absolute legato, (except in diminuendo) on the piano. action, and relaxation— are so far-reaching that their
But piano -playing is an art, not a science; a legato importance can hardly be exaggerated. They should
appeals to the ear. not to the mathematical sense be revised periodically to guard against relapses, and
hence good players succeed in spite of theory. it should be seen that they are put to practical applic-
The legato is the most difficult and the most beauti- ation in studies and pieces. The first studies and
ful of all touches. Accordingly, it needs and deserves pieces givfcn should contain nothing more involved than
constant study. five-finger passages and simple chords. Scale-work
In playing slow melodies the tones may be allowed should come next, then arpeggio figures and mixed
to overlap very slightly— never enough to cause "blur- passages, just as in the Technique itself. Easy studies
ring" The fingers need not be curved quite as much well played are preferable to difficult ones in which
as usual. the pupil violates all principles of good action.
SECTION II.
should be allowed and if necessary instructed always ocity may be given to pupils before they attack scales
to strike white keys on their broad part, not on the Others of the special exercises may be used any
at
narrow part between the black keys. This involves time, those for pedalling, polyrhythmic passages,
frequent movement of the hand nearer to or farther bringing out melodies, and polyphonic playing, will
from the keyboard, but fortunately there is no dif- doubtless be suggested by difficulties arising in the
ficulty whatever in the motion. In chords and arpeg- pieces studied.
gio figures, of course, one must often play white
notes on the narrow part.
SECTION III.
** S 1 I {
"•" 1 2 3 \ 1 % 3 2 1
G. K K. 1
32
Fsharp minor. . 1 * 8 li #*•£•!}*: F major.
bm:
:*¥»
SI Mz* iU i Mj£j=
8 1 4 8 '2
m
1
a 8 14 TTTT 8
f IMI *»
i
m
»L«* 8
r p
ft 1,
J j
8
i
8
— a
?#££ 55 8 4 1 8 o
8 a
1
>_
a
S—
8 4 1
a
3
i
sharp minor. A major
2
iiV'jjriiiiXfiriif
ami a 1 «
7nrj7J
T^
8 4 i
8 c
C
| rrrrirrfr^
14a
'« —— c 881881
a ft I
S
ft 4
|
'
J
"
4
jj
„ »
8*8
ri^fiiiiiOiilijili #
III:
I ^ d==
* * *
y
f
m | 1
*
I
*
¥=+
1
*
rzjf 1 d J
4 'l
8 3 4
n:
(The fourth finger might fall on Ff in the scale of D al-
so, perhaps even in G.)
G sharp minor. F minor.
*
J * 1
i 8
* 2
'
!» 1
'i 4 8
a *
rrrfrrft
1 8 4 1 8 8 8
mg^ 3
^te
2 1 >8 2
^pt
14 8
*i iHi
8 1 3 2 1 "2"
n"J[[rirr»r'i
f^ ri a i a s 4 \
i
\r
Jjji
a i I
„
Y
i
IS ££
k
"8 I 2" 1 2 3
*
F*1*84
'
4
S 5
(Similarly in C minor, G minor, D minor.)
Bflat minor. Many a beginner would be gratified by these changes!
P 8^C -#•
"••?• «% 4i Note 15. Scale -practise.
c
* 1 I. '*
2 1 4 8 8 4 8 8
^
* '8 i 'a
Do not let the pupil practise scales always in the
same order. They should be played sometimes in the or-
der of fifths (C,G, D, etc.), sometimes in chromatic suc-
¥ £F^I
fcfe
$ * i A
a „
3
1884 1 2 's
4 8
cession, and sometimes alternating major with relative
or tonic minor.
necessary to worry pupils with scales in sixths
Is it
The modern fingering of these scales is less re- and tenths? I, for one, think not. The conscientious teach-
gular but easier. er who differs from me most change the fingering
Many of the scales might depart from the accepted of certain scales when beginning on the third degree:
a few examples of possible left-hand fingerings: — lighter tone, in order to avoid stiffness.
SECTION IV.
G.F.K.l
. -
33
RH.
Note 19.
The teacher must bear in mind that the curving of
the fingers to the degree required in scale -playing is
SECTION V.
SECTION VI.
enlarge a pupils grasp. Much harm may be done by in- copated" pedalling fulfils both these conditions.
judicious forcing. In the case of children, it is almost
Note 25. Poly rhythms.
always best to wait for the natural growth of the hand.
Do not despise Ex. 90: it is often a hard nut to crack.
Note 23. Velocity Exercises. When pupils have once learned to play three notes
Miss von Unschuld, in her exposition of Leschetizkys against two, other polyrhythms usually lose most of
principles of teaching, very reasonably advises the ex- their terror. Never attempt to use the "Least-Common-
clusion of the thumb for final notes in exercises for Multiple" method for three notes against four: the rem-
Scale -velocity. The series would thus be: — edy is worse than the disease. The ear is here the on-
ly guide, though it is useful to practise each hand sep-
ft .8 „1«, _vlg°i .a3l a -2* arately in the full tempo as a preparation.
etc.
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