For the Piano Forte

I LLINO I S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN

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2011 MrT222 .N3852 1906

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UNIVERSITY OF

ILLINOIS LIB AR1

URBANA-CHAMPAIGN

MUSIC Latest LEdition

.jIllustrated b ... WM. MASON W. S. B. MATHEWYS WM. LSH'ERWOOD EMtIL LIEBLING ARTHUR -FOOTE GEORGE W. CHADWVICK ER.KROEGER

N. .COREY FRANCIS L. YORK FERDINAND DUNKLEY AYLBERT ROSSWL OPARSONS -. MT UIENR'YG. HANICHETT" JAROSLAW DE ZIELINSKI TRfIOS. A'BECKET H. C. MACDOUGAIL The "Hatch Edition" of Standard Works and Stud

IS SUPERIOR TO ANY OTHER LOW PRICED EDITION

The Only Annotated Editions of These Works Published in the English "Language

All numbers included in the No. Price "Hatch Edition" have, been 54 Kuhner. Etude School. Vol. 3 Lower Med. Grade, Part I carefully edited and annotated 5 Kuhner. Etude School. Vol. 4 Lower.Med. Grade, Fart 2 75 56 Kuhner. Etude School. Vol. 5 Higher Element. Grade, by leading, American teachers, Part...... 75 our corps of editors including: 57 Kuhner. Etude School. Vol. 6 Higher Element. Grade W. S. B. Mathews, Win. H. Part 2...... 75 Sherwood, Frank H. Tubbs, 41 Kuhlau. Sonatinas. Vol. I ...... 50 Kuhlau. Sonatinas. Vol. 2 ...... 50 Frederic W. Root, R. S.- Gold- 42 43 Le Couppey. Op. 17. The Alphabet. Twenty-five Very beck,- Jaroslaw de Zielinski, J. Easy Studies Without Octaves...... 75 S. Van Cleve, TIhomas a'Becket, 44 Le Couppey. Op. 20. Agility._ Twenty-five Progressive Wilson G. Smith, H. C. Mac- Studies in Mechanism and Lightness...... 1 00 45 Le Couppey. Op. 25. Difficulty. Fifteen Studies in Loosen- dougall, Bernhard Listemaun, ing the Fingers. . . . . 1 00 etc. This important work has 46 Le Couppey. Op. 26. Fifteen Studies in Mechanism-Pre- never been attempted by any face to Czerny's Studies in Velocity...... 1 00 other publisher. The engraving, 47 Le Couppey Virtuosity. Fifty Difficnlt Exercises,. , . 75 Op. 37. Etudes Enfantines ...... 60 paper, printing and binding are 8 Lemoine. 37 Loschhorn. Op. 65. Book ...... 50 superior in every respect-each *38 Loschhorn. Op. 65. Book 2...... a,., 50 the best of its class. Regardless 39 Loschhorn. Op. 65. Book 3 ...... 50 of, the additional expense in- 4 Low.. Teacher and Pupil. Pract. Four Hand Piano Method. volved in the publication of an- Vol.I...... 75 5 Low Teacher and Pupil. Pract. Four Hand Piano Method. Diminished reproduction of cover plate notated. editions, prices have Vol. 2...... 75 used on the Bdition." "Hatch not been advanced, but are the 11 Mendelssohn. Songs Without Words . . . . . ,. . .. 1 00 same as those charged for ordinary reprints of the 'works included 69 Reinhold. Op. 39. Miniature Pictures. Twenty-four Easy in this list. Little Pieces...... 67 Sartorio. Twelve Melodious and Instructive Studies for the Piano...... " . .75 . .. - 68 Saunders. Fingering...... "...... 60 65 Schmidt. Op. 16.- Preparatory Five-Finger Exercises . . 3 5- PIANO 49 Schumann. Album for the Pianoforte...... 75 15 Sonatina Album for the Pianoforte ...... 75 No. Price 85 Schumann. Op. 68. Album for the Young...... 4 . . . 77 Behr Album ...-...... 50 12 Streabbog. Op. 63. Twelve Etudes Melodiques. 75 87 Biehl, A. Op. 30. Elements of Piano Playing...... 50 13 Strea.bbog, Op. 64. Twelve Etudes Melodiques. . . . . T75 76 Bohm Abut...... 6 Wagner. First Piano Instructor, Eng. and Ger Text. Vol. x 75 28 Burgme uller. Op. 100. 25 Easy Studies for the Piano . . 1 00 7 Wagner. First Piano Instructor, Eng. and Ger. Text. Vol. 275 32- Chopin Album. Thirty-two Favorite Compositions . . 1 00 29 Chopin. Nocturnes...... 75 31 Chopin. Waltzes...... 50 VIOLIN 30 Clementi. Sonatinas " " 50 24 Kayser. Op. 20. Thirty-six Elementary and Progressive 14 Concone. Op. '24. Twenty-five Etudes Melodique 40 Studies for the Violin. Vol. i...... )TP50 60 Czerny. Op. 299. School of Velocity. Book I....25 25 Kayser. Op. 20. Thirty-six Elementary and Progressive 50 61 Czerny. Op.299. School of Velocity. Book 2 . 25 Studies for the Violin. Vol. 2...... 62 Czerny. Op. 269. School of Veloctty. Book 3 . . . 25 26 Kayser. Op. 20. Thirty-six Elementary. and Progressive 50 63 Czerny. Op. 299. School of Velocity. Book 4...... 25 Studies for the Violin.' Vol. 3...... 59 Czerny. Op.269.- School of Velocity. Complete .... 60 64 Czerny. Op. 553. Six Octavo Studies for the Pianoforte. 30 66 Czerny.- One Hundred Recitations for the Pianoforte . . 50 VOICE 58 Duvernoy. Op. 120.; School of echanism... 50 70 Fink. Op. 95. Rural-Pictures. Twelve Easy, Melodious 48 Abt. Op. 474. Practical Singing Tutor. For Soprano or and Instructive Pieces...... a 0 Tenor. Complete...... I 50 75 Ganschals Album ...... 50 9 Bonoldi. Complete and, Progressive Vocal Exercises. New 40 Gurlitt., Op. toi. Album Leaves for the Young...... 60 Edition, with Exhaustive Introduction by Frederic W. 27 Gurlitt. Op. 11r7. The First Lessons...... 5 Root, Soprano...... 60 73 Hasse./ Op.,. 52. Children's Corner. Ten Easy Pieces, " 50 10 Bonoldi. Complete and Progressive Vocal Exercises. New 74- Hemns Albu ...... o...... 50 Edition, with Exhaustive Introduction by Frederic W. 72 Heller (M._P.) Op t®. 18 'Melodious Studies in Easy Style.- 50 Root. Contralto ...... 60 21 Heller. Op. 45...... 1 00 50 Panofka. Twenty-four Progressive Vocalizes. Vol 1 . e 75 22 Heller. Op. 46...... 1 00 51. Panofka. Twenty-four Progressive Vocalizes. Vol 2 . . 75 23- Heller Op. 47 ,. .=. . .. 1 00 78 Sieber. Op. 92.- Thirty-six Elementary Vocalises. With 88 Heller. 50 Selected Studies, (Revisecd and annotated by W. Introductory Notes by Frederic W. Root. Soprano. . 50 S. B. l~ath-ws)...... -...... 1 00 79 Sieber. Op. 93. Thirty-six Elementary, Vocalises. 'With 71 Hovarth. Op. 20. Baol Bons.'- Album of Very Easy Pieces 50 Introductory Notes by Frederic W. Root. Mezzo 33 Kohler. Op. 5to...... 50, Soprano o ...... e 50 34 Kohler. 'Op. 151 ...... -...... 50 80 Sieber. Op. 94. Thirty-six Elementary Vocalises. With 3F Kohler. Op.:: 57...... 50 Introductory Notes _by Frederic W. Root. Alto. . . 50 Kohler. Op. x d"905 81 Sieber. Op. 95. Thirty-six Elemen tary, Vocalises. With 1 Kohier. Op,."149 Practical Method. Vol. I .. , ,.. 75 Introductory Notes by Frederic W. Root. Tenor. .50 2 Kohler. Op.' 24-g:"_ Practical Method.. Vol. 2...... 75 82 Sieber. Op. 96. Thirty-six Elementary Vocalises. With 3 Kohler Op 249 Practical Method. Vol. 3...... 75 Introductory Notes by, Root. Baritone...... 50 52 Kuhner. Etude School. Vol. I. Lower Element, Grade 75 83 Sieber. Op. 97. Thirty-six Elementary Vocalises. With 53 Kuhner.,-Etude School.. Vol. 2. Higher Element. Grade. 75 Introductory Note by' Frederic W., Root. Bass ... 5 I I I IIIA

= Illustrtdb

WM. MASON W. S. B. MATHEWS WM. H. SHERWOOD EMIL LIEBLING ARTHUR FOOTE GEORGE W. CHADWICK C. R. KROEGER N. J. COREY FRANCIS L. YORK FERDINAND DUNKLEY ALBERT ROSS PARSONS WILSON G. SMITH HENRY G. HANCHETT JAROSLAW DE ZIELINSKI THOS. A'BECKET H. C. MACDOUGALVL 3.6 B. LANG WALTER SPRY and others

If Grade I has been studied earnestly and the various steps taken with careful attention, the present grade will follow along naturally anm easily. All through the work the teacher will see that the pupil is encouraged to keep up the exercises for wrist freedom. Everything depends on this, and most of the evils in bad playing are referable to this source. We begin now to work on the scales and much has to be done in the way of training the thumb to go under the hand in preparation for its next note. There are different ways of doing this, but some one way ought to be selected and the student thoroughly drilled in it until the thumb behaves properly. There are etudes in the grade giving the needful practice, but it is not sufficient to tell the pupil to go through them; the teacher should practice with the student until smoothness has been obtained. The prompt going-under of the thumb is not a matter to be secured once for all; on the contrary, eternal vigilance is the price of scale liberty. As to the actual practice of the scales teachers differ; it would be unwise, however, not to devote a good deal of attention to the study of the different forms of major and minor scales. An easy way of impressing the notes of the scales on the memory is to write them over and over again; any music dealer can furnish "Manchester's Music Tablet," which is especially planned for this purpose. Another important point is to see that the staccato and legato are understood, both theoret- ically and practically. If the player cannot command these two colors his performance will be dull; these touches will have been well started in Grade I, but as time goes on the distinctions between them will grow clearer and the playing brighter. The phrasing must grow sharper as the pupil gets into the grade, and the teacher must watch the ends of the slurs carefully. The "National Graded Course" is so carefully phrased that the slurs, dots, staccato marks, etc., may be relied upon as correct. The important question of velocity should not be brought forward too early. What little velocity is gained should be acquired through scale practice; this does not mean that the teacher should not encourage the pupil to get etudes up to time-not at all! But this is not the grade to urge him forward unduly; rather, let the fundamentals of a sound execution, the correct notes, good rhythm, accurate phrasing and the observance of the marks of expression be insisted on. Velocity is not to be feverishly striven for to the detriment of these good qualities. Later on in the grades, however, it becomes very important to develop the pupil's powers to the utmost, and if the foundations laid in Grades I and II are sound, progress in the later grades will be very rapid. In Grade II we find a free use of the damper pedal. No teacher needs to be told how much artistic piano playing depends on the use of the pedals. The first one to be used is, naturally, the damper pedal, sometimes misleadingly called the "loud" pedal. The most valuable of the studies in Grade II, for this purpose, is the one entitled "Choral-a pedal study." If practiced according to directions it cannot fail to give the pupil a grounding in the fundamental technique of the pedal. There must not be the slightest blurring of the chords, and not the slightest gap or rest between them. It will, at first, be tiresome work for both teacher and student, but the results will repay all the work and trouble. And, here, we must give the teacher a friendly word of caution, namely: do not leave students to their own devices. Go over the advance work with them before completing the lesson, and see that it is thoroughly understood. If you actually see pupils work through a new etude or piece you are sure that they appreciate the points you wish to make in the execution of the music. If, on the other hand, pupils are left to struggle unaided through the first practice of new work, they will, very likely, make many errors and become discouraged, and possibly neglect it altogether. It is not a pleasant task, this going over new work with young pupils, hearing all their numer- ous errors, and bearing patiently with their discords, but it is work that ought to be done, and it pays in the end. Grade II is really a most important link in the chain of progress, and on its successful forging depends the strength of the chain as a whole; hardly less important is this grade than Grade I. If the pupils become tired, so that they can hardly be persuaded to go on, give them some of the interesting pieces advertised on page 44. It is not lost time that transforms an uninterested pupil into a happy one. After one or two pieces are learned a return to the melodious etudes of the grade, with its unique combination of work and play, will be very pleasant. (2) THE EDITORS. r3 t

Fob INTRODUCTION TO GRADE II. MUSIC

A correct and ready knowledge of the scales is Q. How far is C above B ? absolutely necessary. In pursuance of the plan out- A. A semi-tone. lined in GRADE I, in reference to the scales, viz.: to Q. How far should the third note be above the take up the difficulties of scale playing one by one, it second ? is recommended that the pupil, having learned the A whole tone. putting-under of the thumb, be now taught the notes A. Is C right then for third tone? of the scales. This is best done through writing. The Q. No. following dialogue explains the process of forming a A. What is the matter with it? scale. While some pupils may find it wearisomely Q.A. It is a semi-tone too low. explicit, others will be glad of the close reasoning How can we raise it ? employed. By putting a sharp before it, thus: Writing the Major Scale. In writing the major scales, the scale of C major is taken as the model. Q. What is the fourth note as we have it?

The numbers refer to the position of the sounds in A. A semi-tone. the scale; thus '" G" is the fifth sound (or note, or Q. How far above three should four be ? tone) in the scale of C major. Often we use the word A. A semi-tone. " degree," as "G" is the fifth degree in the scale of C Q. Then is D right for the fourth note? major. A. Yes. We notice, first, that the notes ascend on the staff The same reasoning may be employed to the end without skipping a line or space. The notes below are of the scale. Let us now take another scale, say A fiat. D not the scale of C. Q. What is the first step? A. To write out the notes in order on the staff , U without skipping lines and spaces, and to number thet. V U notes.

Second, we notice a semi-tone between 3 and 4, 7 [I and 8, of the scale; and whole tones between i and 2, 2 and 3, 4 and 5, 5 and 6, 6 and 7. These two things are true of all major scales. We will now write a scale, say A major. A. A flat.tone and a half. Question. What is the first step? Q. What is the second note as we have it? Answer. To write the notes in order on the staff Q.A. B.Whowfar should the secondnotein the scale ofA flat ?e without skipping lines or spaces, and to number the A. A wholetone. notes. A. A toneisasemi-tone a half. too high.d Q. Is B right,is then,the for second as note we have it? A. NoB. 'd'tWIL~VMl~r ~iSRlrEll~fj~CI, Q. How faris Bmatter the with it? -i Q. What is the first note in the scale of A ? A. A. Q. How far should the second note be above the Q. What is the second note, as we have it ? '4- A. B. Q. How far is B above A ? 9 A. A whole tone. A. By placing a flat before it, thus: &rst?Q. How far should the second note be above the

A. A whole tone. c7 Q. Then is B right for the second tone ? The same process of reasoning may be employed A. Yes. to the end of the scale. After the scales can be written Q. What is the third note, as we have it? C. without hesitation, the fingering may be taught. (3) 4 Hunting Song. The chief characteristic of this jolly hunting song is its springing rhythm; let this be clearly marked, takigpn to sof ten the unaccented tones. C. GURLITT .: Con moto r12 S 4

i r r~ 'j f rj

Somewhat dower- cantabile

Fos Tempo primo

ti rw- II III

1 1 f:2 13--. a? af_ do A

, % I I _ I ~e E Cr ft &r &

(a) The accompaniment now becomes piano; let the melody stand out clearly.

1 ! 42 5

Serenade. PIETRO LANCIANI. This is a melody study for the left hand. Play it with much grace.

Andantino mosso. (.L~96)

con espressione.

d i

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2 _" 4 32 1

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riz I _ _ _ _ I s ar 2 1 g3 2 / 1 _ KJn

(a) The chords in the right hand should be piano and somewhat staccato. 124-42 6 The first note in the two-note phrase should be played with a portamnto or non legato touch bined wrist and arm, but with very slight arm motion, the rebound of he finger from the second not sunfficient to give the arm its proper elevation. To this end the wrist must be perfectly loose. Do oa cent the first note especially, thereby covering the effect of the repeated note and spoiling the cniut and legato effect of the phrases.

Edited and fingered by PHRASING. ]ETUDE. SUMNER SALTER. H WOHLFAHRT. Tempo di Vabse. o --56

3 = 24 4 2

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_A - 45

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Very sustained and organ -like. - CHORAL A PEDAL STUDY. C. GURLITT, Op. 101. d--44 4 A 3 2 3) 4 b (a) a

w v 41 i

-h t, 11 I1 '1 1 1 1I A 5 5 4 5 4 4 3 5 A 3 2 ! (a')8 43 4(a) 5

-r4 GO .6 I - 4; F- : - 1 -

'1 ,2 Crl- II I '3 3 12 it 5 4 4 Ii3 3 5 4 3 3 2 3 4 5 1 I 1 i - 3 (a)4

... 1 1 Ad 1--e t i 1 1-

r "!. 1- 19 A

I 2 1 2 5 15 45 5 (a) Sustain the long notes. With the exception of the places marked (a) which are done with the fingers, the casustaining edn hetmomybeicesdgrdal effects are gained by the pedal. At othfirst countih sixped very h slowlyr ouhi(no faster sdthan M .4. The pedal willet goet downmp on the even countsa e g (2.a uly4. 6.)tot and e rgcome t upp e on.Th the oddr countso ch i(1. 3.s 5.)d Whenedo thisnr

124 -42 This and the following studies are for practice in crossings. Follow the finger marks exactly. those above the notes are more difficult than those below. In making the crossings do not allow the slightest change of direction of the hand at the wrist joint, but compel the thumb to do all of the work by its root joint. The position of the hand should be so turned with reference to the key-board that the fingers ofthe two hands are nearer together than are the wrists. If both hands be laid upon a table, fingers extended and touching, and the palms pressed flat upon the table, and if then the hands be brought together so that the tips of the two thumbs and also of the two index fingers just touch, the hands will then be turned about as they should be for making crossings. Be sure that the thumb when under the hand strikes as independ ently as when in its usual position no striking by the aid of any hand motion.

ETUDE FOR PUTTING UNDER THE THUMB. Edited and fingered by Dr. HENRY G. HANCHETT. C. H. DORING, Op. 45, N9 1. Moderato. - 132

n f 12 8 2 3 4 3

22 3 1 4

_ •,--

124- 42 8 In this etude the more difficult fingering is placed below the notes. The remarks made in tion with the first etude apply also to this one.

ETUDE FOR PUJTTINGT UNDER THE THUMB. Edited and fingered by Dr. HENRY G. HANCHETT. C. H. DORING, Op.45N92

Moderato. 132

~CCI dim.

2 - 2 Ic 1 3 11 5 1

I 1 Ja1il.

2I,1 2_d -1e- 2

3 4 5 1

124 42 9 Kind ermars oh.

Edited and fingered by A Study in Staccato. H. C.MACDOUGALL. G.MERKEL, Op.31, N91.

Gustav Merkel was horn in 1827 in Saxony and at one time in his life was a pupil of Schumann. few years ago. His compositions for the piano are mostly salon music; on the other hand his organ sontafn tasies, preludes etc., are very solid and dignified.

Lively and with energy. ( - so)

5 4 2 3 q 1 1 p 4

Aid

p f yfs Y74 1

AIF

* .1 4 -

124-42 10 This etude is designed chiefly to give practice in hand contractions. The effort should be to m finger that is to strike fall always in a vertical line- do not allow it to begin its descent until rectlv over the key to be c'ruck. The finger that is holding a key down may bend to any extent leave the key in any direction, hut keys should be struck only from directly above., straight downune all circumstances. Even when there are skips as from the 4th to the 5th measure in r. h. the fingewhc is to strike (thumb in this case) should be carried high till it is over its key. Connect the notesoftern ning passages closely and smoothly and make the least possible break when the same note is repeated( sfo 1st to 2nd measure, r. h. Practice at first much slower than the metronome mark. Edited and fingered by Dr. HENRY G. HANCHETT. LEGATO ETUDE. CONRAD KUHNER. Allegro commodo. J -120 legato. 1 1 2

5 4 3 4 43 (U1) () Aeia -- *2 1 2

9)T r diinin. 411p. ( , 0 76 .x

AM& A cr~esc. ______

t _r"1 r,

12 i - 4 4 1 13 4__ 4 3 sempre legato.4

semapre Ugato.4 A 4L 2 1 21__3 1 3 2 ~4 2 21 4J-mo _d_ _ _

4k) T I p cres.- (a)- - A ff

(a)R The I. h. exactly between the 2 11d& 3rd notes of the triplet. The rhythm may be clearer if expressed thus S(b) The lowest fingering should be used if possible. Let the finger cling to the upper d a in as possible sliding off the end of the key, while the thumb and inner side of the hand arerie and kept high till over the lower d, so that the blow may be delivered straight down. (c) The ix semi- staccato notes notes may be playedA by a hand stroke. a slight hinge-like motion from tewit 124 -42 11

5 4 (1) 4 3 (1) (1) 3 2 3 4 2 2 a .1m p- a 3 1 2 2 2 4 3 I1i

- w 6m" (b) ______I

4- 5 1 3

(a)

Edited and fingered by SCALE PAS SAGES. H. C. MACDOUGALL. MEYER. Moderato. 5 ~4 2

.1 1 9.

[73______

(a) 5I I

(a) Chords with hand touch . (b) In this and similar places between measures do not miss the legato; between measures 10 and 11,14ad5 the legato will be found dcjficult for small hands.

124 -42

jOF ILLB 12 SCALE PASSAGES. (See directions to preceding study.) Edited and fingered by If. C. MACDOUGALL. Moderato.

10.

For the sake of equality and distinctness it is recommended that each group he played with a slight crecno Play also with two groups in one phrase and a similar crescendo through the measure. Edited and fingered by D U L HR S SUMNER SALTER. D U L HR S Allegretto. 4 -592 A RUE

tj~~~~ 3_ _ _ _---.

124- 42 ETUDE FOR PIRASING. The semi-staccato note at the beginning of each measure should be struck lightly, at the sam firmly; and relinquished, by drawing the finger towards the centre of the hand. Edited and fingered by HOMER N. I3ARTLETT. H. LEMIE

Allegretto. __

5 \ _V___ D). C. sin' aI FINE. 124r-42 14

Edited and fingered by SCALE PASSAGIES. ll.C. MACDOUGALL. L. KOHLER,

This etude may be reviewed in a few week-, when a faster tempo wili be necessary.

Moderato- Allegro. ( - 60 -80)

13.

2 . 5 13

1. w 3-

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

.w p oresa. f 13e . 3 3 12 AM3ftb Ma-41-

-mw VI-

(a) Each group of four sixteenth notes may with advantage be practiced thus: bar 3

alsoalsoetc.

(b) Chords with hand touch. 124-42 Is

Edited and fingered by W. S.B. MATHEWS. Free Fancies CORNELIUS GURLITT, Op. MELODY ETUDE WITH LEFT HAND WORK.

A pieasing melody study in which a full round tone is of the firstimportance. At (a) give the lo force enough to make it fill its time. While the melody has long tones, as at (a) the left hand c ulate expression by making a little crescendo upon its own account, as indicated at (b). The point is to do this just enough to keep up thne interest without diverting attention from the sopran which of course is the main thing. The ossia in measure five may be useful practice for older It may be easily accomplished by first learning to pluhv triplets and then four tones to a bea, ing two in a measure until the different rate is perfectly well understood. Then leaving the left take care of itself, give the attention to the right hand. As the left hand has been playing a unifo tion of triplets it will easily enough keep on. It is not possihle to place the foutr mathematicallyagis the thre'e by computing the exact point where each part comes in. The syncopated tones at (d) atc pate the accent of the tied tone.

Con moto. - 98

1. Pesp/es ii'(a

1- 4 2Copyright MDCCCXCVII by Hatch Music Co. 16 SCALE ETUDE FOR LEFT HAND. I3oth this and the following etude begin to look towards velocity. Practiced at first at a ver slowed (- 60) and with great precision, increasing steadily until the proper temipo is reached. they can ntfi of great usefulness.

.- 96 ___ Moderato. 4 ~ _I~ 1 - -I~~~I_ 5 1 .

1' 41 14 - 4 4 (a) This lower fingering, strictly in accordance with the suggestions of the author, will be altale i practice. The other fingering will, of course, be the one chosen for velocity. '.1 - 42 17 SCALE ETUDE FOR RIGiHT HAND. fee notes to preceding etude. O.H. DORING.

Moderato. - 104

16.

5 1 J 1I I g 1 3 1 .1 5

9)ii -- mr4v 1 I 1 1 13

) 1 j

I e

(a) See note (a) in preceding etude

124 -- 42 18

Edited and fingered by The Little Wanderer. W. S. B. MATHEWS. MELODY NND PHIRASING. CORNELIUS GURLITT. Op. 101, N9 12. A pleasing little thematic piece composed upon a very small number of leading motives treate harmonies. At (a) give the last tone of the melodic phrase its proper accent. At (b) be sure that tion is one of eighth notes, and not as if the soprano sang a melody composed of A. B flat, C,an D leaving the two F's as if belonging to the accompaniment. Give the F the same force. At (c) mk h tone strong, as also at the (d), iisoluto. At (e) a hand motion, and at (f) accent the bass. Theylsn phrase, being practically a sequence of a motive which has been many times used before, must blae a little more emphatically, a little itardando towards the end, and at the same time with more foreTi is indicated by allaigando, broadening out_ i. e. with more force and more time.

Allegretto. . - 88

17.

4 5 4 3 - '3 W~ w -1 3 2 -- fw p _--0 / '\ A *A

0 ow A

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(d) risoluto. Y0) dim. f A a

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f0) 2 W ' c " f

) 2 1 124 4 Copyright MDCCCXCV1I by Hatch Music Co. 19 3 4 3 5 3 '4 5 1 2 1 3 2 .33 lI I l l a

s (e) scheizando.

I I fr' I (I r' W' fr' I W '

3 1 4.-

2 2 I ('leS C. mf

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lkil l -{ i- 4 4 5 2.

LiIIII c1esc. f fI I 2

2 1

(b) (d) A

s I r 1 'r4 3 f p risoluto. dim. f

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JL 3 3

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0) circ mf f.' alargrndo.

-AIL- a r"

i 2 2

12 4- 42 ETUDE IN BROKEN CHORDS FOR RIGHT AND LEFT HANDS. b E. BIEHL, Op. The eighth note passages separately at first. ( - 60)

Vivace. . -54

--- 7

The chords to be played with the hand touch; the eighth note passages with the finger touch. 124- 42 21

SUMNER SALTER. , .2 DORING

BROKEN CHORDS FOR LEFT HAND. Edited and fingered by SUAlNER SALTER.o moderato. 104 - 132 H.- 1. Small hands and those lacking in flexibility will find the following stretching exercise be Exercise:With successive pairs of alternate fingers, e.g. 1-3, 2-4, 3-5, play broken fifths thi octaves, holding two notes down consecutively, releasing the first note when the third note is str keeping the hand loose on the wrist and turning the hand in a rotary motion in the drection of the strik ing finger as may be necessary to avoid stiffness and cramped position:.

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124-4'2 2 4 THE BEGINNING~ OF VELOCITY. C. KUMMER. Practice forte at first, afterwards observe the marks of expression. At first no faster than 0 at last ... . 60.

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The advantages of transposition have been pointed out by Von Blow in his edition of Cramer The following transpositions of the above etude will be found very useful; also the' arrangement frlf hand.

In F.

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124--42 '5

(a) The last six notes may be fingered 1. 3. 4. 2. 1. 5.

FOR LEFT HAND.

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124- 42 PHRASING AND MELODY. Edited and fingered by E. R. KROEGER. THEODOR KIRCHNER.

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NOTE: Strict attention should be paid to the accurate alternation of the two hands. Notes on tl staff to be played with the left hand and those on the upper staff to be played with the right hand.

124- 42 27 ETUDE ARRANGTED FOR LEFT HAND. C. OZERNY. Allegro. - 80 to 160.

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Edited and fingered by STACCATO ETUDE. H. C. MACDOUGALL. OSCAR WERMANN.

It will be found advantageous to first practice this etude legato, in order that the fingering maybe fixed.

Very lively. . - 84 to 100. 3 4 1 34 4 4 (a) 2 3 3 , ,

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(a) The upper fingering is recommended 124- 42 29 4 2

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5 4 4 2 1'12 5 3 (b) It might be well at this point to call the attention of the pupil to two simple rules which will ordinrlb sufficient to distinguish a piece in the major key from one in the minor. First, bearing in mind tht1 h last bass note in a piece is the key note__ if the last bass note corresponds with the key-note as i/a e'd by Ihe signature, the piece is major; if not, it is minor. Second. the last chord must have a mao third to be major. 124 - 42 3 0) The Lark's Song. P. TSCHAIKOSY

This little piece is just as characteristic of the great master who wrote it as any of his larger and grand Its keynotes are refinement of touch, delicacy of phrasing and the utmost nicety of shading. Peter lltitsch Tschaikowsky, the greatest Russian composer, was born Apr. 25. 1840 and died Nov. 6

Moderato. (. - 68)

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1-14 -42 Copyright MDCCCXCIX by Hatch Music Co. 31

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(a) Struck simultaneously. 124-42 3 2 First Prelude Edited and fingered by THOS. a BECKET. from the Well Tempered ClJ All the fingerings written above the notes even if written on the lower staff are to be taken t right hand, and those below the notes are to be taken by the left hand.

Allegro. ~-112

(a) j 3 271 P 1rao

(a) The effect intended is as if written with the 1st and 2nd notes sustained truL out the figure.. Care must be taken that the first note for the right hand is not too strong, thereb r ducing an accent: it really is the third note of the group. 124 - 42 33

3 2 3

124 -2142r 15 3i7 Klavierstiick. Edited and fingered by THOS. a BECKET. F. MENDELSSOHN, Op. 72, NQ 1.

Allegro non troppo. K- 126.

28.

I 3 2a 5 3 ..." * W (a) Observe the strong accent on the 3rd beat; in the first three measures let it be very marked; in the 5th, 6th and 7th measures not so pronounced. (b) The phrasing needs careful attention; the first three notes (treble) legato, followed by light, crisp staccato notes. The bass in similar style. The foregoing subjects (a) and (b) are the foundation themes of the composition. (c) A light wrist touch from here to the end, gradually diminishing in power. 124 - 42 Copyright MDCCCXCVII by Hatch Music Co SINGING TOUCH. Edited and fingered by W. S. B. MATTHEWS THEODOR KIRCHNER.

This pleasant little study is calculated to promote lightness of the second and third fingers hand, along with a' singing pressure upon the fifth finger in the melody. As such it tends towarsago cantabile. At (a) hold the quarter its full value; (b) accent the melody tone strongly in ordert mk it hold out its full value; (c) look out that the little melodic fragment contains exactly two toni ado more by falsely' accenting upon the third beat; finally, obtain an easier flow by counting four,ontoec measure, taking the first measure as gone". This will give the larger rhythm.

Allegretto. 2 1 3

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Edited and fingered by ETUDE FOR THE LEFT HAND. WILSON G. SMITH. THEODOR KI Theodor Kirchner, born in Saxony on Dec. 10th, 1824_ still living- is one of the most poetic of modernGra are p sealwayssstherasm characteristic nd xpoe ent fand soriginal.chmalaller SchHennwhashewrittenaem form s,. bsutrthasoncreated anyms anlikesd gemhonlyareinwa s;scrand, Heller, occupies a unique position in musical literature.

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t15 5 5* Practice sections a, b, c & d separately, until all are learned; then play the study through without break. Pa h chords in the right hand with a distinct staccato touch. All the eighth note passages in both hands are stacao r 124 -42 jess lre Edited and fingered by ARPE GGIO ETUDE. E. R. KROEGER. L. STREABBOG, Op.1 The following rule for the use of the third and fourth finger in arpeggi of common chords will erally found to be applicable: when the distance iion the key struck by the little finger to the follow (or ice versa) embraces one white key not employed,- the fourth finger should be used; when it two white keys, the third finger should be used. This rule applies to either hand. There are excei the rule generally holds good. Students should make a point of raising the hands from the keys at th a slur. by means of an elastic movement of the wrist. Indeed, a good rule is for the student to cut of the last note of a phrase in half, a rest occupying the remaining half. Moderato. *-116 55 5 422 4 34 2

311 6 6 -* 6 .. ~

(a) Where the sign for taking up the pedal (*) does not occur, hold the pedal down as far a h next . 124- 42 38

"3 2 mo5 x0 *4 EditedandB. L. WHELPLEY. fingered by Chanson d' enfant. ALEX.GUILMATE.UI'' Felix Alexander Guilmant was born at Boulogne, March 12th 1837. He is organist at La Trinit6 Church, Paris, and is a composer and performer of great ability. His first public appearance in America was at the Worlds Fair, Chicago, on August 31s t , 1893. Andante. ~- 66 524" 8 2 8 2

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Edited and fingered by SEPARATION OF FINGERS RICHARD HOFFMAN. Equality and Velocity. H. LEM OINE .

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Accentuate the melody thus: and observe the gradations of tone marked much importance was attached to this in the days of Lemoine, Herz, Czerny and also Chopin. 124 -42 It (1

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Edited and fingered by PHRASING AND RHYTHM. RICHARD HOFFMAN. H. LEMOINE.

Practice with the left hand alone, is very important in this study; and note that come- at the first beat and in the left at the second beat of the bar. 124- 42 5^ 4 .

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124- 42 THE HARMONIC AND MELODIC MINOR SCALES.

The minor scales prove a stumbling block to most The Melodic Minor Scale. pupils; for this reason the subject should be made thoroughly plain. There are two views of the minor According to the same principle, viz.: that we the scale, one view regarding it as a modification or inflec- should proceed from the known to the unknown, tion of the major scale, the other regarding it as an following is the rule for the melodic minor scales. independent scale. As a matter of practical teaching it is easier to teach the pupil to look at the minor scale as Rule. a major scale changed, than to learn the minor from the start as an independent form. To form any melodic minor scale take the major The major scales should be learned very thoroughly scale of the same pitch and lower its third sound one in the manner recommended on page 3 of this grade. semitone ascending. In descending use the notes of the major scale of the lowered sound. Thus, to write the scale of G melodic minor, take the scale of G major; lower its third sound. The third sound is B; lowered The Harmonic Minor Scale. it becomes B flat; descend exactly like the scale of The harmonic minor scale, while not so pleasant B flat major. to the ear as the melodic minor, is the more important form. G MAJOR.

Rule.

To form any harmonic minor scale cake the major scale of the same pitch and lower its third and sixth G MELODIC MINOR. sounds a semitone.

D MAJOR. A FLAT MAJOR.

D HARMONIC MINOR. 3 6 6 8 A FLAT . MELODIC MINOR.- 'J' - ,,

B FLAT MAJOR. The signatures of the minor scales are also a source of trouble to teacher and pupil. Every minor scale, whether melodic or harmonic, has the signature of the major scale beginning on its third sound. For instance, the third sound in the scale of C minor is E B FLAT HARMONIC MINOR. flat, the signature of C minor is the same as the signature of E flat major, i. e. three flats. Those major and minor scales having the same signature are said to be "related." Those major and minor scales having the same keynote are said to be tonic major and minor. C major is the "relative" Before the pupil attempts these at the keyboard major to A minor; A minor is the "relative" minor to they should be written out again and again until they C major. C major is the "tonic " major to C minor, are thoroughly in the mind. and C minor the "tonic" minor to C major. 42) Pronouncing Dictionary of Musical, Tcris.

A LIST OF SUCH TECHNICAL WORDS AN~D PHRASES AS THE PIANO PUPIL WILL MOST FREQUENTLY NEED.

t Abbandono (It. a-ban-d'-nS), Con. A r dIto (It. hr-de'-t). Ardor; Diminuendo (It. dim-in-oo-n -do)j. Mezzo (It. mit'-so). Half; medium. Sforzando (It. sffirt-san'-do). With With abandon. warmth. Diminishing in power. Moll (Ger. mil). Soft; minor. force. Abbreviations, Aria (ar'-iai). Italian for air or mel- Dolce (It. dfl-tchay). Sweetly. Molto (It. mil'-to). Much; very Signature. Sharps or fiats placed at Accel.,accelerando M. D., mano des- ody. Arietta. A little air. Do l c iasaI m o (It. dll-tch'-si-mol.) much. the beginning of a piece to indicate Ad lib., ad libitum tra; main droite. Arpeggio (It. ar-pidg'-jo). A broken Very sweetly. Morceau (Fr. mir'-il). Short musi- the key. Afet., affettuoso. Mez., mezzo. chord. The tones of a chord per- Doloroso (It. dil-lo-ri'-z). Sadly. cal piece. formed in succession instead of Simli (It. see'-mee-lee). In the Allo., allegro P., piano. Dominant. The fifth of the scale; Morendo (It. milrln'dil). Dying came manner Allglo., allegretto. Ped., pedals. simultaneously. the chord on that note. away; indicates diminuendo and Andno., audantino P. F., Sinistra (It. sin'-is-trl). The left piu forte. Doppel Foote (Ger. dlp-pel fil-ti). rallentando combined. hand. Ande., andante. P. P., pianissimo; Articolato (It. ar-tic-o-lar'-to). Dis- An organ stop coiposed of wooden Moaso (It. mil'-s). Motion ; as, meno Slur. A curved line connecting two Coil' 8va, coil' ot- piu piano. tinctly. stopped pipes with two mouths. moss, lees motion. tava. R. H., right hand. Dopplo (It.). Double; as, doppio Moto (It. mil'-to). Movement. or more eotes, to show that they are Cal. alando. Rail., rallentando. As (Ger. lie). A-fiat (A). movemento, doubly as fast or twice as Natural. A character used to cancel to be played legato. Assaf (It. as-si'-e). Very; allegro S mo r z a n do (It. sm~rt-elin'-do). Cres., crescendo. Rf., Rfe., rinfor- fast; deppio pedale, with double the effect of a previous flat or sharp. D. 0., da capo. zando. eesai, very fast. pedals. or Gradually lainter and softer; dying In time; Nocturne (Fr.). A night-piece away. D. S., dal segno. it., ritardando. A Tempo (It. k-ttm'-pi). Dot. A point placed after a note or serenade. Decree., decrescen- Rten., ritenuto. a return to the original time after a rest which adds one-half to the Non Troppo. N{ot too muche. Sonata (It. sO-n'.ti). A composition, do. Scher.,scherzando change has been made. value; a second dot adds half as usually consisting of three or four Attacca (It. it-tak'-lta). Attackc; as, Octave. Eight degrees or tones from movements. Dim., diminuendo. Sfz., sforzando. much as the first. any given tone, either above or Dol., dolce. Smorz., smorzando attacca anbito, attack the next quick- Double Bar. A broad bar drawn Soprano (It. sil-prk'-nil). The highest ly. below. female voice. liprv., espressivo. Soet., sostenuto. across the staff to indicate the end Octet. For sight voices or instru- F., forte. Stacc., staccato. Bar. A line drawn through the staff of a strain, or of the composition. ments. Sostenuto (It. ss-ten-oo'.ti). Sus- to denote the division of the time in tamning the tone. F. F. fortissimo. String., stringendo Double Flat. Two fiats before a Ossia (It. os'-see-ar). Or else; oth- F. P., forte-piano. Ten., tenuto. a piece of music. note, indicating that a tone two half- erwise. Spiritoso (It. spr-r-til'-zil). In a Fe., Fe., forzando; Tr., trillo. Bass clef. The sign of the bass staff. step below is to be used. spiiited manner. firot added Pause. To hold. A sign (y) denot- (It. Detached; sforzando. Treem., tremolando It fixes middle C on the Droite (Fr. drwiit). Right; as, main Staccato stli-khi'-to). line above. iog an indefinite stop. distinct; separated. L. H., left hand. Uei., unison. dreite (mang drwht), right hand. lever operated by the foot. Pedal. A Staccatissimo (It. stac-cali-tee'-see- Leg., legato. Var., variazione. Basso (It. Bass'-so). Bass. Dur (Ger. door). Literally hard. Ger- Pensoso (It. pen-so'-zo). Pensively. Marc., marcato. V. S., volti subito. man name for major mode. mo). Very detached; extremely hay dooir). B major. Perdendosi (It. pehr-den-do'-ssel. staccato. (For the definitions and pronuncia- B Dur (Ger. Dynamics. That departmentof Dying awvay. tions of the foregoing words, Ben, Bene (It. ban, bi'.ne). Well, see under musical science which relates to, or Pesante (It. pa-zan'-t). Ponderous, Stretto (It. sn-to'). Contracted ; the words themselves throughout the good. treats of, the force of musical sounds. heavy. close. That part of a fugue in wheich Twice. the subject and its answer are Dictionary.) Bis (It. base). E, Ed (It. eh, ehd). And. Phrase. A short tons-chain which A Capella (It. a-ca-pll'-la). In Breve. A double whole note. E Dur (Ger.). The key of E major. brought closely together. Bril makes sense, but not complete sense church style-i. e., the voices with- B ril ante (Fr. bril-yan'-ta). E Moll (Ger.). The key of E minor. Pleasur e, Stringendo It. stren-jan'-do). To liantly. Piacere (It. p_-a-tcha'-re). out accompaniment. Energico (It. en-br-gee'-co). Ener- fancy. press; hasteeing tee time. s A Capriclo (It. a-c-pre'-tcho). At Brio (It. bra'-i). Spirit, vigor, force. getic. Subito (It. soo-be' -to). Quiclkly. - A flourish Piano (It. nS-hi'-nO Soft; gentle. caprice; at pleasure. Cadenza (It. ka-den'-tsa). E qua1me nmte (ewal-men'-ta. Pianisamo (pp) (It. pee-an-iss'-see- Suite (Fr. sweet). A form consisting Accelerando (It. a-tchel-a rln'-do). of indefinite form, introduced imme- Equal ; evenly. me). Very softly. of several eovenents. The pre- Accelerating the time. diately preceding the close of an cursor of the sonata. Es (Ger. As).E-fiat. Es moll, li-fiat as, pin mosso, Accentsato (it. a-tchen-too-a'-to). important section of the composition. minor. Pie (It. pt'-oo). More; Suspension. The holding of tones more movement. Accented. Calando (It. kal-lan'-do). With de- E a p r e sslv o (It. ess-press-see'-vo). proper to a chord while retaining and speed. Placido (It. pii-tchS'-do). Placid; chord, thus Acciaccatura (It. at-tchack-a-too' creasing force With expression. pleasant. tones of the preceding ra). A short appoggiaturawhich is Calmato (It.). Calmly. Etude (Fr. a'-tood). A study, in con- producing a discord. crushed against the principal note. Cantabile (It. kan-ta'-bt-ls). In a to an exercise. Plagal Cadence. A cadence in tradistinction which the tonic chord is pre- Symphony. A sonata for full or- Accompagnamento (It. a-kim-pan- singing style. final of all Facile (Fr. fa-seel'). Easy. ceded by the sub-dominant. chestra. The most important yi-man'-to). Accompaniment. Fantasia (It. ffsn-tli'-ze. A fantasy. instrumental forms. Cantando (Tt. kan-tan'-do). With Poco (It. pil'-). Little; as, poco of Acoustics. The science which treats Finale (It. fd-na'-l6). t. The end. Syncopation. The displacement of the nature and laws of sound. a singing tone. animate, a little faster. rhythm by driving the accent to Fine (It. fee'nd). f Polish a-da'-jo). Slow; a slow Polacca (It. pil-la'-kli). A Adagio (It. Capo (It. kii'-pfl). Head or begin- Forte (It. fflr'-t6). Loud. dance in 3-4 measure. that part of the bar not usually movemett. ning. Fortissimo (It. folr-tees'-a-mal). As Polka. A Polish dance in 2-4 meas- accented. Ad a g lssimo (It. i-dajees'-1-mo). Capriccio (It. kiipre'-tchi). Caprice loud as possible. ure, the third 8th-note being ac- Tacet (Lat. tit'-set). Silent; a direc- Very slow. or fancy. A composition irregular Forzando (It. flrt-shin'.di). Sudden cented. tion for a vocal or instrumental part Ad Libitum (Lat. ad lib'-i-tum). At in form. force. Polonaise (pil-il-nttz'). A movement to be silent. pleasure. (It. ka-pre-tchS-o'-zo). Fugue (fug). A composition in con- in a measure, Tarantella (It. tir-iin-til'-li). A Capriccioso of three quarter-notes Neapolitan dance ice6-S meas- A Dur (G. ii dr). Key of A major. Capriciously. trapuntal style, in which a subject, with the rhythmical cmsura on the rapid Affettuoso (It. a-fet-oo-i'-zf). Affec- Celere (Fr.). Quick, swift. taken by one part or voice, is last; also a dance adapted to such use; named after the spider called tionately, tenderly. Con Affets- answered by other voices according music. tarantula, whose bhte is popularly Choral (Ger. ki'-ral). A slow sacred to be cured by music. oso. With feeling. tune. to certain rules. Portamento (It. pilr-tit-maen'-to). A supposed Agilita (It. h-jIl'-l-t). Agility, Chord. A combination of musical Fuoco (It. foo-a'-kfl). Fire, energy. carrying of ties voice, or gliding Tempo. Time; !movement. quickness. sounds, consonant or dissonant. Furioso (It. foo-rel-i'zil). Furiously. from one tone to another. Tenor. The highest male voice. Agitato (It. tj--t'-to). Agitated, Chromatic. The tones intermediate Gauche (Fr. Gaweb). Left. Main Potpourri (Fr. po-poor-ee'). A mix- Tenor Robusto (It. ro-boos'-tO). A restless; usually implies hurrrying. between the diatonic tones of a key. Gauche, left hand. ture ; a piece of music composed of strong tenor voice. Tenuto (It. ten-noo'-t). Sustained, Al, All, Aila (It. al,al'-la). To the; Chromatic Scale. A scale in which Giocoso (It. jil-ki'-zo). Jocosely. different airs strung together; a in the style of. all the tones occur in successive Gluato (It. joos'-to). Exact; as, tempo medley. heeld. (It.). measure, usually order. Terzetto (It. tart-sfet'-tO). A short Alsa Breve giusto, in exact time. Precipitato (It. pra-tchS-pS-thi'-til). piece for three voices. character In a precipitate manner; hurriedly. marked e. Clef (Fr. klif ). A key. A Glissando (It. glis-sain'-dol). Playing (It. t'-mli), Theme (Fr, used at the beginning of a staff to piano by slid- Precisione (It. pra-tchS-zS-O-nS). Thema a rapid passage on the tam). Theme. The principal me- determine the pitch. ing the tips of the fingers along on Precision; exactness. lodic subject. Allegretto (It. al-lay-grit-to). Mod- Coda (It. ki'-da). An added part. the keys. Prelude (It. pra'-lood). A short in- Commodo (It. kilm-mil'-do). Easily, Grandioso (It. gritn-dt-O'-zil). Grand- troductory piece. Thorough Bass. A spec-lee of musi- erately quick ; not so quick as allegro. cal short-hand. It consists of the Allegro (It. al-l'ay'-grfi). Cheerful, without haste. ly. Presto (It. pras'-to). Extremely Con (It. kiln). With; as, con brie, Grave (It. grii'.vl). Slow; solemn. rapid. bass part, with fignres added which Joyful ; a quick movement. indicate the accompanying har- Al Segno (It. sain'-yoi). From the with spirit. Gravita (It. gral-vc-tli). Gravity; Prima (It. pro'-mai). First. Con Delicatezza (It. del-le-cai-tet'- majesty. Prima Volta (It. vil'-tii). The monies. sign; return to the sign and proceed first (Fr. tre). A third. sas). With delicacy. Grace; ele- time. Tierce to the word Fine. Grazia (It. griit'-se-ia). key-tone; the tone from Con Disperaxione (It. des-par-ritt- gance. Quadruplets. Four equal tones per- Tonic. The Alta, or 8va (It. at'-tii, or ot-tk'-vii). which all other tones are reckoned. An octave higher than written. sieil'-no). With desperation. Grazioso (It. griit-se-al'-zo). Grace- formed in the time of ono pulse. Amabile (It. a-ma'-be-la). Lovingly; Con Dolore (It. do-lo'-re). With fully. Quasi (It. quah'-see). As if; in the Tranquillo (It. tran-quil'-lo) gentls; tender. sadness. Gusto (It. goos'-to). Taste ; as, con style of. Quietly; tranquil. A Moll (Ger. a, mill). Key of A Con Eleganza (It. el-A-gant'-sii). gusto, with taste. Quintolets. Five equal tones per- Tre Corde (It. tra kicr'dht). Three minor. With elegance. Half-Step. A term of measurement, formed in the time of one pulse. strings; discontinue the soft pedal. Amnoroso (It. Am-b-ro'-zfl). In a lov- Con Energico (It. hn-er-gee'-co). being the smallest now in use. R ali1e n t an d o (It. riil-Sn-tan'-dO3). Tremando (It. tri.-man'-du). Trem- ing style. With energy. H Durt (Ger. ha doolr). The key of B Gradually slower and softer. bling; vibrating. Andante (It. an-diin'-t&). Literally, Con Espressione (It. es-prey-si-iln'- major. Recitativo (It. rit-tchl-ta-tee'-vil). A- Tremolo (It. trfu'-mO-lO). A note or going at a moderate pace; mode- no). With expression. Impeto, Impetuoso (It. em-pa-to', musical declamation. chord made to quiver or shako. rately slow movement. Con Fuoco (It. foo-aw'-cil). With em-pa-too- o'-zo). Impetuously. Refrain. The chorus of a song; that Triad. A chord consisting of three Andantino (It. Asn-dan-tee'-no). Di- fire. Indeciso (It. en-du-tcht'-zo). Inde- which is repeated at the end of each tones-viz., a fundamental with its minutive of Andante! consequntly Con Furls (It. foo'-rl-li). With fury. cision. stanza. third and its fifth.

Con Velocita (It. vi.-lo-~tchS-tii'). With velocity. Appoggatura (It. hp-pldgji-too'- Crescendo (It. kris-shian'-dil). In- ing the time. ra), from appoggiare, "to lean upon." creasing in power. Lento (It. ln'-tO). Slow. Rubato (It. roo-bit-tO). Robbed, (Gder. Voreehlag). A melodic orna- Da Capo (It. da kiep'-o). From the Loco. As written; used after 8va. stolen; as, tempo rubato, borrowed ment, both vocal and instrumental. beginniiig. Lusingando (It. loos-in-gfn'-do). time-d. e., some tones held longer mu). Very rapidly. The long Appoggiatura receives half Da Capo al Fine (It. 11ifee-nay). Caressingly. than written, while others are pro- Vibrato (It. ye-bra/'-tO). A tremulous the time of the following note, and From the beginning to the word Ma (It. ma). But. portionately curtailed. quality of tone. is expressed by a grace note; the Fine. Main (Fr. ming). The hand. Scherzando (It. skert-sin-do). Play- Virtuoso (It. vdr-too-l'-zO). A skill- short Appoggiatsura is crushed against Dal Segno (It. diai hn'-yo). From Mano (It. m'-no).Thh fully. fel performer upon a special instru- the following note, and is expressed the sign. Mancando (It. man-kan'-do). Dy- Scherzo (It. skert'-ea). Play; sport. ment. by a grace note with an oblique dash Always. Damper or Sustaining Pedal. ing away. Sempre (It. sim'-pry). Vivace (It. ve-va'-tchi). Qucl through the stem. The short Appog- Improperly called "loud pedal." A Marcato (It. mar-kar'-to). Em- Senza (It. sent'.sa). Without; as, sprightly. giatura it the acciaccatura. phatic ; marked. pedale, without pedal. mechanism which raises all the senea Vivo (It. vee'-vo). Sprightly, with, Appoggiatura, Double. Consists Menu (It. mi'-no). Le.. Septolets. Seven equal tones per- life. dampers at once, thus allowing the in the time of one pulse. of two short notes before a note of strings to continue to vibrate. Metronome ('may-tro-nom). An in- formed Voce (It. vO'-tchi). The voice. Sextolets. Six equal tones per- melody, one below and the other (It. dh'-crh-shan'-do). strument for measuring time. A above the principal note. In all Decrescendo to the pendulum of formed in the time of one pulse. Volti Subito (It. vill'-tS soo-bee'-tol. Decreasing in power. clock-work, cases the time of both is taken from which is attached a sliding ball. Sforza (It. sflrt'-sii). Forcing or Turn quickly. the principal note. Deciso (It. day-chee'-zo). Decisively. Beepage 18. forced Vox (Lat. vex), The voice USelected List orPieces and BooKs Rec ededtor Use with ti 0

1 III LI1III~-I~ I

ALLEN, A. JONES, L.

...... 25 Gavotte Mabel's Favorite Schottische 0 0 0 " 0 " 0 0 " 0 .31 BEAUMONT, P. KAISER, P. Boris, Polonaise .25 Op. 2, No. 5. Polka. .25 With Stately Grace Minuet. .25 Op. 2, No. i. Polonaise .25 BINET, F. KULLAK, E. Queen Fairy echo '~iie .35 Op. 4, No. i. On the Green .25 Op. 4, No. 2. Witch Dance. .25 BLUM, 0. R.

Dream of May. . . . . " . ".. .35 MARTEL, C. Nimble Feet Polka...... 25 Funny Old Man Polka. . .25 Young Cavaliers March. .25 Little Mister March ... .25 COX, N. B. MUTTER, C. F. Quiet (The) Brook, Reverie...... 25 Jolly Guardsmen March. "35 DAVIES, J. H. NURNBURG, H. Op . 41, No. 2. Hunting Song ... "35 Youth's Marching Song .. .20 EILENBERO, R. POLDIN I, E. Op. 210, No. 6. On the Swing -30 General Bum-Bum March .25 Op. 210, No. i. With Drums and Colors Flying March .30 RICKABY, T. L. Op. 23, No. 3. Contentment "35 ENOELMANN, H. SARTORIO, A. Op. 430, No. i. At Dawn, Reverie - . . . . .25 Op. 229, No. 17. Free as Air .20 Op. 308, No. 4. Polonaise. . . .20 , " . 20. .30 Op. 705, No. 2. Queen of Night Polka .25 Op. 229, No Spring is Here Op. 229, No. i i. Torch Dance .30 FRANKE, M. Forest Child...... 25 SANFORD, E. L. the Mill . .25 Gipsies (The)...... 25 Miller (The) and Squirrel (The) ...... 25 SCHARW EN KA, X. FRANKLIN, F. A. Op. 62, No. 6. Gavotte . .30 .30 Op. 34, No. i. Dancing Elves . . .50 Op. 62, No . i o. Scherzino Op. 23, No. 2. Rustic Dance. . . . . "35 SCOTT, C. A. FRYSINOER, J. F. Dwarf's March ...... 25 Op. 6, No. i. Merry Maiden Gavotte . . . .35 SMITH, HANNAH Op. 6, No. 2. Nymphs at Play Mazurka "35 Iris Gavotte...... 25- ...... GAEL, H. van Polketta...... -35 Valsette...... 25 Op . 48. Beautiful Star Waltz...... ".30 Op. 83. Marche Guerriere...... "35 TOURBIE, R. op. 75. On the Blue Lake ...... 30 Op. 207, No. 5. Gavotte ... .25 GEIBEL, A. TSCHAIKOWSKY, P. Happy Birthday Waltz ...... "35 Happy New Year Gavotte...... 35 Lark's Song...... 20 .20 Merry Christmas March ...... 35 Op." 39, No. 8 . Waltz... . .

GOERDELER, R" WANDELT, B...... 20 In the Magic Garden, Reverie .25 Op. 8. Dancing (The.) Bear 00 .20 Magic Dance Schottische .. .25 Op. 8. Tyrolienne .. HEINS, C. WENZEL, H. .30 224. Cuckoo Clock (The) ".30 Bell in the Valley.. Op. _35 Op. 198. Light Cavalry . -30 Brook in the Wood.. HENSCHEL, A. P. WILLIAMS, F. A. Gnomes Revel Galop...... UstiC ancti 25 Op. 31. Children's Festival Waltzr" 'F'P Op. 36. Rustic (A) Wedding March HILLER, P. WOLCOTT, J. T. Op. 66, No. 7. Happy Carpenter ...... 20 Flying Fancies Mazurka...... H-OLST, E. Flying Fancies Polka...... March ...... * " "60 "0 .30 Carnation " "r Lily Waltz ...... 30 WOOLER, A. Moonlit Ocean, Romanza..0 .30 Little Cavalier March

COLLECTIONS

Pink. Op. 295. Rural Pictures (Hatch Edition, No . 70) .6o Melodic Sketches .50 .50 Hasse. Op 52 Children's Corner (Hatch Edition, No. 73) .50 Model Second Grade Pieces...... Hem's Album (Hatch Edition, No. 74) ...... 50 Reinhold. Op. 39. Miniature Pictures (Hatch Edition, No. 69) .6o Horvath. Op. 20. Bon-Bons (Hatch Edition, No. 71). .50 Stray Fancies...... 50 In March Time Album of Easy Marches...... 50 Endless Amusements. Four Hands . .50 New and Revised Xdition MelodicSece IN______TIME ,Buro1'wetymfiveC~aratelps%~'Fancies18 Selected Compositions in the Second Grae *.ty-six Delightful and Easy Marches for First and Characteristic Pieces inth Second Year Pupils Tenty-four Second Grade The large sale and constantly increasing demand for It is universally acknowledged by all teachers that Melodic Sketches" naturally led to inquiries for another m*=positions in " March " form are the most attractive collection of second grade music, and the companion vol' and interesting to young pupils. an admirable collection, ine, issued under the above named title STRAY FANCIES In offering this volume to teachers and pupils, we M roDnc SKtTCHIS is met with a hearty reception. In the initial description o1 feel confident that its welcome is assured. None but pieces designed for use in the second grade-contains "Melodic Sketches,". we said: "An 'admirable collection of of approved merit have beets included in its contents, and nothing above or below that grade. It presents a second grade music. Itpresents a series of contrasts of tone all of the most inspiring character with decisive instruction with rec- are series of contrasts-contrasts of character, contrasts quality and touch, thereby combining and well-marked rhythm. Eiach piece in this hook is a reation and amusement. It seeks to instruct by means of gem and will he found a most valuable aid to cultivate a of tone, quality and touch-thereby combining pleasing forms which never fail to awaken in youthful love for music. and an ambition to produce it. IN MARCH beneficial instruction with recreation and amuse- minds a desire for knowledge." TIME is the ONLY COLLECTION published consisting en- ment. It follows the latest educational methods In selecting the music for. STRAY FANCIES, the editor tirely of marches for first and second year pupils, and maintained and strengthened the characteristic features the large demand for such a collection has prompted its seeks to instruct by means of pleasing forms, which which have made our Fifty Cent Books the most useful compilation. All are carefully fingered and are adapted cannot fail to awaken to youthful minds a desire series ever published-n-seful not only as collections of music for the organ as well as the piano. for knowledge. Carefully fingered and edited. for recreation, but of exceptional value for educational CONTENTS purposes. A very large amount of valuable material was Schieuning critically examined before the, collection was completed, Alpine o . o O e " P.e. 0.o. CONTENTS and when the final selection of subjects was made, each Al ways Gay . "."...... Schiild piece was carefully edited, fingered and annotated. Neither was spared in its preparation and publica- Beach Promenade . . o " " . . Hoist expense nor care Alpine (The) Hunter...... Wenzel tion, and we have no hesitation in saying that it has few . . . . Hoist Carnation...... Brook (The) in the Wood . . . . _a. . Wenzel equals-=certainly no superior. Dwarf's March . . e ... Scott Chanson dEnfant...... Guimant STRAY FANCIES is printed from new plates on a fine of worth may Festal ., . ee...... -eHeifer grade, of music-book paper.- Some idea its Far From Home-Tone Piece, Op. 6o6 Behr bobtained from a glance at the - . .Poidini General Bum-Bum ...... Festive (The) Dance, Op. 140, No. 7 . . . Gurliit jolly Trumpeter...... J1/orvath Harlequin...... Streabbog CONTEN'TS Little Boy Blue...... Engiemann Heart Leaves. Op. 8, No. 4 .. .. Wandeil At the Twilight lour, SLa Riese-Polka. Op. 79, - Horvath van Gael Little Drummer ...... Hunt (The), Op. 130, No. 29...... Garlizt Beaumont - Op.SOS, Little Ballad. Op. 61, Little . .. . van Gaet Derceuse, No. -1, Hunter Hunting Song, Op. s9, No. 5...... Weiss linge/man Thomna Little Mister...... - Mar/el Klavierstiick, Op. 72, No. 1 .....Mendelssohn Cheerfulness. Op. 60, Little Waltz. Op. 10 . Dolet Little Trumpeter...... Behr No.1 . . . Schultz Mail Coach in the Woods, Little (The) Coquette-Rondo Giocoso. Justis Ei/euberg Magic King . .-...... *Goerdeler Dance of the Sylphs. Op. Love Song...... Gurit 59, No. 1... .. Lege Merry Huntsman. Op. 31, -. Rickaby March...... Moonlit Ocean-Romanza ...... Ho/st Dause Norwegienne, No.2...... Merkel March ...... - Tourbie Watson Petite Valse. Op. 26, Liadoni On the Heath ...... Behr Pleasure of the Dance. Op March Guerriere...... *vanGaet Dream of May. . B/am Our Loved One-Tone Piece, Op. 29. .Glnsehais: Evening Song . . Weiss 68, -No. I Scharwenha March of the Little Soldiers...... Playing Soldiers, Op. 44, No. 1...... Hirsch Fresh Breezes--Waltz,Hos Polonaise. Op. 2, No. 1,. . Merry Christmas Poor Orphan Child, Op. 53, No. . . . Biehi Kaiser 9 Harlequin. Op. 215, Ring Around a Rosy Op. (Palrade of the.Guards. Rondo Militaire ...... Biehi '40, No.2 Ei/enberg Queen of the Mist9...... Engenzann No. 19. . Bau mfelder Spinning Song, Op. 19, No. '3...... Weiss Hobby Horses. Op 25, Scherzo. Op. 308, No. 3, Reveille."VP...... -.. Behr Op. 169, No.i. . . e . Lichner No.1I. . Schwaulzer Eage/mann .o- . Spring, BiehiL In, a Gondola. Op. 254, Song of the Elves. . Behr Summer Joy, Op. 181, No. 3...... 1eins No.5...... ohtm Toc anc e.' Op. 229, With Drum and Colors Flying. .Eilenberg Tarantelle, Op. 293, No. t...... Giese lIn the Mill. Op. 239, No.10. .Sarlerie Young Cavaliers .o. e.. -. . Blum Under the Blossoms, Op. 112, No.3. . . Lichner Gdnsch als Youth's Marching Song Youth's Marching Song...... Nurn berg Jly~uardstklen-March, Village Fete-Rondo, Op. 188...... Lebierre Mutter PRICE, 50 CENTS PRICE, 50 CENTS PRICE, 50 CENTS

RHYMES AND RHYTHMS PupilsRereain FOR Thirty Selected Compositionsin First and Second rad IT -IS AN INTERESTING POINT in the progress of the LITTLE MUSICIANS music student. when the step is taken which leads beyond the first grade To the young mind it is an epoch an cvi= Nine Melodious and Instructive Piano P1e lee ofUadvancement,a-period when new things are' t e investigatedAfter, successfully passing this point, Introducing the Scales and Strengtheilng A Collection of Easy and Melodious Pieces for there is a desire to goover the old ground, and to realise and feel the sense of confidence and freedom with which the Lef t fand the Piano work of the early grade Is played. The aim of PUPILS -RECREATIONS is to assist ina the blending of the first and BY WeALETE By HANNAH SMITH second grades, and to accomplish it in such manner as to make the transition almost imperceptible. The volume A most valuable collection of easy pieces for the piano, is nearly equally divided with compositions of grades one and two, but arranged so neatly that one may pass from that have the attribute of being instructively elevating, as the lower to the higher unconsciously, thereby greatly The governing ideas in this beautiful collection well as intensely pleasing. In this beautiful congregation assisting in the development of the player, Attention has of first grade compositions will be found all the varieties been given to the selection of Goon music, not simply are the study of the scab.s and the development of tunes, although all compositions are of of primitive forms. Grave and gay; serious and jocose. p leasing the a the strength of the left hand. This is carried out tuneful character. We recognize the great importance of All the styles are here co~mbined ; each one furnishing most attractive manner. Each number, its correct training in the early periods, hoth in study and rec- in the example of touch and phrasing; therebygiving instructive ceation, therefore the fingering and phrasing has had while appearing as a recreation, is really a little Great extensions special revision. A most valuable addition to our cats- advancement while affording recreation. rogue. study of an interesting character. Beginning in of the hands are avoided-so often the bane of young players. Each number is preceded by a charming little CONTENTS- the key of C, using only whole, half and quarter &t the Shoe Clapper Dance in Tyrol, Op 52, No. 5. "IFrank expressed by the music. poem, setting forth the sentiment &u Revoir, Op. 503, NO, 30...... Beh notes, and proceeding- by very easy graduial steps aid in stimulating the imagination of This is a great youth- C~urley Locks Polka, Op, 408£ No,...... Engelman, to the keys of four sharps and flats, the youthful musicians and in the formation of a correct taste. Doll's Dance...... Kugel ful Old Man Polka...... Marie player is led almost imperceptibly through little Fingering is given at the necessary places, but the player is .gunny Gavotte, Op. fi2, No. 6 . . .. .A'Sckarweato to exercise judgment., Printed on best quality difficulties that are' not noticed, so pleasant and required Gbeneral Bunx.Bum Marche...... oldirs music book paper, and tastefully bound. Glipsies (The) are Coming, Op. 251; No .. . John easily has the path been made, In the same quiet, Glolden Rod Galop,Op. 37. No. r . . . .. Rickaby CONTENTS Hians and Gretchen, Op. 143.' Nos 4...... a...... Bieh insinuating way are the rhythmic probleis intro- H-appy Holidays Schottische...... Giuliani duced and overcome. Having accomplished all the The Star The Little Shepherd In May, Op. 134, No. I...... Rohre Summner Days The Hobby Horse Joyous Days of Youth,Op.- 5, No 33.". ... F...... jehi numbers, the performer looks back with astonish- Kermess Schottische, Op. 289, Noe ...... Streabbog Dolly's Cradle Song Evening Hymn at the ground whlch has been covered, while ftight Cavalry, Op. 198 ...... Hei- ment The Woodpecker April Song f~ittle (The) Hunters March, Op. 56, . . , ,.,..,.van Ga&s they were only conscious of being amused. The Silly Little Dog Stars and Daisies Waltz ',ittle Rider, Op. 66, No.4...... " " . " . . Hi//er Magic King Matrchb...... " . Goerde/er The composer is a teacher of experience and Sleepy Time Chimes ;Magic Queen Gavotte...... vr . Goerde/er recognized merit, and he has here presented.the The Snowbird Elfin Horns Menut ...... , 0.00..-..6, . A//en The Hunter The Carrousel Merry Party Calop, Op. 288, No. 6...... Streabbog Millert The) and the . . Sanford music forms which his knowledge assures him will Dancing Lesson Mill ...... Hans and Gretel The Vlyosotis, Op. 7, No. 1 . o ,..." ", . Langendor~ be of value and interest to the young studet. No The Brooklet Little Miss Pollywog O~hlSuch Fun Waltz ...... B/umn extended chords are introduced, and each Evening Bells Automobile Ride Petite Tarantelle...... He//er unsb P'olish Dance...... a .Behzr On the Lake is carefully phrased and fingered. The Robin Rural 'Charms, .Op. 105, No. 3...... , .- Wo/j Lullaby Pussy Willows Polka School Festival Polka Mazurka...... , ._ . Giuliani Holiday Time ilntage (The) Festival...... Gurui ICE,50 Ct;'SN WiseOld Owl ...... " " ...... d Price,, 50 cents ,: net PICE,50 CENTS Choice Melodies for Piano Model Second Grade Pics SECOND GRADE Two Little Players Twenty -three Favorite To benefit musical students and advance them, almoet Iooslbly5 Compositions trugh their recreations should be the aim of every collection for youehflsl pianists. in the preparation of CHOICE MELODIES be SECOND GRADE much time and thought has been devoted To meet the meatal requirements of players in-this grads to this end. The cosopositons of the nost experienced teachers First and Second Grade Piano Duetts Wlthoa- end educational writers have been selecled, and in the selection ef It is necessary that eompositions should possess a more fort has been made to present contrasts in style and mood. Variety Octaves Arranged in Progressive Order, solid character. Not that they be less interesting or tune s must essential, or our young players would become sadly one-sided ful, but having in them that something which demotes that sot only in taste, but also in execution. It is bad for the student to Edited and Fingered we haverisen the primer stage, and are no longer be always playing runs, and aeve' chqrds; always practicing fager 'above louch, andnever hand touch-,or vice versa. To perfect such a plan in satisfied with mere sweets.' An examination of Model the preparation of a hook, requires more attention to detail than EQUAL PERFORMERS Second Grade Pieces will show that this has been the go would be supposed by the casual thinkerIn this volume we batter FOR ourselves that we have succeeded in assembling a collection that wil erning motive tn its preparation. Among the twenty con. pease as well as he of educational value. As is usualin all our publi- tributorswill be found the names of teachers and composers eations, the most careful attention to ingeriag, phrasing and clewc of world-wide reputation. The Mat of contents embraces mess has been given. One of the characteristics of the most modem most of the styles of the lighter romantic school. Manya. the compositions are annotated, and all are carefully ', CONTENTS is the recognition of the great Methods of teaching gered and revised. Arbutus Polka ...... Sutto value of. early four-hand playing. At the Water Mill...... Freytag This most excellent collection of 54 piano duetta CONTENT Distant Sounds...... Beaumont is designed for two players of equal ability, thus A B CValse...... Giulass Dwarfs' March...... Banner Maroli, Op. 1...... e..Ortlep enabling-either to perform the Primo or Secondo Gnomes Revel Gavotte...... Henschel Bell (The) in the Valley . . . Wn. part. which is particularly desirable for young Happy Days--March Ronde ...... Blum Children's Festival Waltz, Op. 1 . .. .William. hunting Song...... Kaiser pupils. The compositions do not extend beyond Dance of the lves...... Jnse In the Magic,Garden-Reverie,...... Goerdeler the second grade, and are progressive in their-order, Dance of the Sylphs, Op. 59, No. Y . .. L Ladybird Waltz ...... Tucker Proper fingering and phrasing has been carefully GipsDance...... Beaumo- Magic Serpent Dance ...... Goerdeler Hunting of Butterflies, Op. 44, No...... HirscA as it is most important the pupil should 4 Marionettes . -.. .R ob..de indicated, Hussars, (The) Op. 243...... Heims On the Rocking Horse ...... Pndleton learn to play the simplest piece musically, i. e., Mabel's Favorite-Schottische...... oes Passing ,Regiment, The...... Schytte with due regard to proper accent, character' e March, Op. 4, No. 4...... Kulla Peasant Dance ...... Kaiser touch, quality of tone, etc. Maypole Dance...... Betio Return from the Cottonfields.Franklin Miller's Song. , . . . . .~ekel and favorite muelodie form the basis of Sea Mist, The, ...... Schytte Pleasing Nimble Feet Polka...... _->. Bis,' Sleigh Ride...... Kaiser the-collection, -which has been selected from the, Nymphs at Play-Mazurka, Op. 6, No. 2". Frsng Song of the Trave'ler ...... Franke works of the best composers. All varieties of style Polonaise, Op. 21, No. 1...... e Hesvd. Spinning Song...... Engelmarin have been included, as the collection is intended to Rough and Tumble, Op. 369, No. 5 ... .. Hen Sunshine ...... Pendleton Rustic Dance, Op. 23, No.2...... Frean have an educational Sweet Briar ...... :...... :.Franke value, as well as to be a souros Song of the Sirens, Op. 59, No. 65...... I Tale of the Amazons,;A...... Ascher of recreation. Turkish March,. Op. 148, No. 12 ...... RI Winter Revels Gavotte ...... Zimmermann No teacher should f al A order a astu Tyrolienne, Op. 2, No. 2 . .... -.. Via, "With Stately Grace.-Minuet...... Beaumont Valse Joyful, Op. 40, No.5...... Da this and zsahaw k wlkdiou. 4( helpul W~tch Dance. Op., 4, No. 2...... a . Xe PRICE, 50 CENTS PriCE.71i C8MT PRICE, 50 CENTS

Choice Recreations Second Grade Favorites M_odel March Abum and i phrsing ItnkTheis educationalhe hop ofteeio idea which ngoverned ulihr the formationhtti oo Twenty-seven Choice Compositions In Secoadi FIRST GRADE FAVORITES has here been amplified. As thne mind of the student matures, and the fingers gain strength Twenty Popular and Inspiriting Marbh*! and Third Grades. and flexibility, the .material must be of a- deeper and broaderAlbum.f oeaf..... Ls~e nature. As technical. peculiarities.. are.ilai overcome all Occasions with greater ease, the mental side should be 'correspond inglyOherunes n Op.~ljmi254 No z...... Rr TEE WISDOM AND ADVANTAGE OF VARIETY IS RECOG> advanced, compositions of rubtier shading and phrasingBondolence should. Op 29 be presented.N. 4...... Chaz '-r teristic works,Se 'er -an RISED BY PROGRESSIVE INSTRUCTORS, and it is acknow- hunting leded that this-variety ,may DolsCrdeSngsongs, spinningp 10wheels, o3...... £leilr fountains, lullabies and exist not -only in the charac, serenades, are of the higheat value to young musicians, for A magnificent congregation of marched the ter or color of the work, but also in the contrast of grades. of ;f the step between be not,too great. In CHOICE RECREA- they appeal to both -the mechanical andasthetic side of most inspiring and attractive character~selected ,TIONS both have been considered; their nature. with greatest -care, id'eas the variety of The more varied the character of the study, the better -the and available fort all occa" grade being limited to the second and third. The great sions. They are of a character varying from- variety of character and tone quality presented will be will he the general musical effect in each variety. Such the' quickvlly seen up. onxaminaion of the l4. ristofcotets.I Is the plan followed in SECOND GRADE FAVORITES, so that bright, stirring" two-step "'or, quick march, to the. the player is led from one improvement to another, while conscious of being only entertained. As in FIRST. GRADE FAVORITIES all the numbers comprising this fine col- ection have been thoroughly revised, both in fingering

Coon Club.."...... _..:Isfeld Song, Op. 77, No. . .0 o .. 0 . Reinecke. Hunting 12.1,. Hearty Welcome, ._ .. 0. * * *,,' . vacs In the Garden-Menuet, Op. 39, No. 3." :.,m o-.- Davies In the Mill, Op. 8i, No. Ii ...... n' Wilm Gae jolly (A) Parting-Scherzo, Op. 45o, No.5S.= . Engelmann Hers and His ...... aso In the Gondola, Op. 369, No. a .. .Hennes rust Little Black Nigs--Plantation Dance. . .. Stahl One, Polka... Blum In June D'ys . bark's (The) Song ...... Tsahaikoss-k) . " wt'ljf Little Night ...... Martel Song. Leisure Hours, Polka ...... Geibel Jolly Guardsm e ,. @ * , M;eutet Magic Clown Polka ...... , ,Goerdeler ittle 'MistressWaltz...... Manuel a, Op. 343...... Sartorio Martel ,March.. . .: . " : ; Magic Cradle- Lullaby..:...... Goerdeler Kullak March, Op. aol_.No. s...... Gurlift' Marche des_ Geants .. * * *B , onheut Menuet from Samson...... Handel 'Magic Mirror Dance..Goerdeler Masqueraders (The),Polka,0pgo. , . van Gael On the Stretch 0.* * *." * Pet of the Household Waltz...... Blue Home ugelmaun MerryStories, Op. 295, No. 4...... Fink Pet of the Household "0 * * *- * -Blum Race (The),Op. 8i, No.-6"...... Kullak Morning Serenae ...... Behr Reverie, Op. 308, No. 2...... Esagelmann o Lovely ight=-Serenade..eaumont Presentrm . ".".0-0n ." -... Stah Rondo Grazioso, Oo.13INo3.".. ... Siehi (The)}Man Plays. . . . Allen Priscilla. , ." "o " ; " " "o i o ".: oo " . Clar Serenade, Op. 19, No.2 ...... Olsen Organ Queen of Day Schottische, 3. . . , Spinner's (The) Song, No. 1.. .. Scharff 0tP. 7MiNo. Resglsesan Op.. 26., Twilight o, No. 4... Rmgelmansn renlied, O p.77, ...... Hfmenn ueaeen of Mazurka~O No-.6.. tmalmng (Thq) Wheel, Op., , No...... :Schuetzen "* **" ** ** rtlefs Violet -Gatop ...... , HalS 1;... PRtICE, 510,CENTS -PRIG, 5 C'4S a ar , WC0.."0-. 0C-E.,Ti' This book is a preservation facsimile produced for the University of Illinois, Urbana-Champaign. It is made in compliance with copyright law and produced on acid-free archival 60# book weight paper which meets the requirements of ANSI/NISO Z39.48- 1992 (permanence of paper).

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