I LLJINO I S UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN
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University of Illinois at Urbana- Champaign Library Brittle Books Project, 2011. COPYRIGHT NOTIFICATION
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NAT I0NAL GRAD E -COURSE IN SEVEN GRADES 41
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.4 - 7'~o COPYRIGHT, MC)[VI, BY IIATCH MUSIC COMPANY. tl. Rihthad
Pronouncing Dictionary of usical Ters.
A LIST OF SUCH TECHNICAL WORDS AND PHRASES AS THE PIANO PUPIL WILL MOST FREQUENTLY NEED.
Abbandono (It. i-bin-di'-na), Con. A rdito (It. r-d'-tfl). Ardor; Diminuendo (It. dim-in-oo-en'-do). Mezzo (It. mit'-so). Half; medium. Slorzando (It. sfirt-sin'-do). With With abandon. warmth. Diminishing in power. Moll (Ger. mol). Soft; minor. force. Abbreviations, Aria (r'-ia). Italian for air or mel- Dolce (It. dol-tchay). Sweetly. Molto (It. nol'-to). Inch; very Signature. Sharps or flats placed at ody. Arietta. A little air. Dolcissimo (It. di-tche'.om tmt.) much. the beginning of a piece to indicate Accel.,accelerando f. D., mano des- the key. Ad lib., ad libitum tra; main droite. Arpeggio (It. ar-pAdg'-j6). A broken Very sweetly. Morceau (Fr. mir'-s)., Short musi- Afet., affettuoso. Mez., mezzo. chord. The tones of a chord per- Doloroso (it. do-1-r1'-zo Sadly. cal piece. Simili (It. eee'-nee-lee). In the formed in succession instead of Dominant. Tle fifth of the scale Morendo (It. m6-ran'-da). Dying samie manner. Allo., allegro. P, piano. the chord on that note. Ped., pedale. simultaneously. away; indicates dimninuendo and Sinistra (It. sin'-Is-trl). The leti Algtto., allegretto. combined. Andno., atdantino P. F., piu forte. to). Dis- Doppel Flote (Ger. dep-pel flinti ). rallentando hand. Articolato (It. ar-tic-o-lar' At -organ stop composed of wooden Mosso (It. n'-s-). Motion; as, mteuo Andte., andante. P. P., pianissimo; tinctly. Slur. A curved line connecting tio Coll' 8va, coll' ot- piu piano. stopped pipes with two mouths.. 11tos, less motion. or more notes, to show that they are tava. R. H, right hand As (Ger. ds). A-flat (Ak). Doppio (It.). Double; as, doppi Moto (Itm. Moement. to be played legato. Cal., calando. fall., rallentando. allegro veiento, doubly is1tst or twice as Natural. A character ised to cancel S m o r z a n d o (It. snart-sbun'-do) Assai (It. es-se'-e). Very; the effect of a previous iat o sharp. Ores., crescendo. f, ffs., rinfor- assai, very fast. tast ; dppio pedale, ith dotble Gradually fainter and softer; dying D. C., da capo. Zando. (It. i-tCm'-p). In tine; pedals. Nocturne (Fr.). A night-piece or away. A Tempo Dot. f" Adopck point placed after a note or seuenale. D. S., dal seguo. Rit, ritardando. a return to the original time after a :a(Itii~t-~k'-fa Non Troppo. Not too uch. Sonata (It. s-ni'-th). A composition, Decres., decrescen- ite., ritentto. been made. four cliane has restvhictsvalute, a second adds dotdone-ttslf adds hialfto heas Ocave. Eight degrees or tones from usually consisting of three or do. Scterz.,sciterzasdo (It. -tk'-k). Attack;as, movenmentis. Attacca mtch any given tone, either above or Dim., diminuendo. Sfz., sforando. (ttacca stbito, attack the next quick- as the first. below. Soprano (It. s6-prl'-n6). The highest Dl., dolce. Stssocz.,smsrzandt ly. Double Bar. A broad bar drawiin iesmaie voice. across the staff to isdicate the ent Octet. For eight voices or instrtm- Espre., espressivo. Sost, sostenuto. Bar. A line drawn through the staff ments. Sostenuto (It. sos-tn-oo'-to). Sus. F., forte. Slic., staccato. to denote the division of the time in of astrainor of the co mpositi . Ossia (It. s'-see-ar). Or else; oth- taising the toile.. F. F., fortissimo. Stig., stringendo of music. Double Flat. Two fiats before a Spiritoso (It. spr-r6-t'-z). In a a piece a tone two talf- erwise. F. P. forte-piano. Ten., tesuto. Bass clef. The sign of the bass staff. note, isdicatisng that spirited manner. Fe., Fe., forzando; Tr., trillo. middle C on the first, added step below is to be used. Pause. To hold. A sign (s) denot- Staccato (It. sth-kK'-ti). Detached; It fixes as, main ing an indefinite stop. sforzando. Tret., tremoland line above. Droite (Fr. drstlet). Right; distinct; separated. droite (mang drwlt), right hand. Pedal. A lever operattd by the foot. L. H., left hand. nis., unison. Staccatissimod tt. sit.-cah-tee'-se- Leg., legato. Var., variazione. Basso (It. bass'-so). Bass. Dur (Gers.dr). Literally hard. Ger- Pensoso (It. pen-so'-z6). Pensively. man name for major mode. Perdendosi (It. pehr-den-do'-see). mo). Very deached; extremey Marc., marcato. V. S., volti subito. major. Dying away. staccato. (For the definitions and prnutcia- B Dur (Ger. bay dour). B Dynamics. That departmentof BenBene (it. ban, b-n). Well, msusical science whichs relates to, or Stretto t(It. stra-to'). Contracted; tions of the foregoing wors, see uner Pesante (it.a-zn'-t). Ponderous, of afugue inwih good. musical sounds. close. Thtpat the words thbemselves througiout lh treats of, theforce of heatvy. the subject and its answer are Bis (It. bse). Twice. E. Ed (It. eh, ehd). And. Phrase. A short tone-chain which Dictionary.) note. A Capella (It. Brev2. A double whole makes sense, bust ns 1complete sense brought closely together. Brilante (Fr. bril-ye-t). Bril ELDur c.). Tlekey usi h' jor. r;apqos' Stringendo (It. strn-jn'-do). To church style-i. e., tie voices with- Ed Moll (Ger.). Te key of E inot. Piacere (It.e p -le-tcha'-re).n~ Pleast e, out accomptniment. S)liantly. anergico (It. en-er-ge'-co). Ester- puiascecfancey.or press; hastening the tinme. Brio (It. br-). Spirit, vir, force. getic. A Caprico (It.-capre'tchd). At Piano (Tt. n -i-n). Soft gente (It.0rSubito ho-t1). Quickly. Cadenza It. ka-den'-ts1). A flourish (eq-wiil-mti'-ta). Suite (Fr. sweet). A ftrm cossting caprise; at pleasure. form, introduced imme- I u aImente of several umovemuentts. Time pre- Accelerando (It. l-chel-ilru'-do). of indefinite Equal; evenly. in).cededs by,Very the softly. subdoinat diately preceding the close of an As). E-flat. Es moll, E-flat as, pi umsso, cursor of the onnata. Accelerating tie time. important section of use conposition. Es tGer. Piu (It. pe-oo. More; Accentuato (It. -tchen-too-l-t). minmor.I more movement. prosper to a chordd tuhile retaising Accented. Calando (It. kal-lan-do). With de- Es p re ss i v o (It. ess-press-see'-vo). (It. pl-tct'-do). Placid; forceand spee Placido Suspension.tones of the precedingThe solding chsorti, of tonesthus at-tchack-a-too'- creasing .With expression. Acciaccatura (It. pleasant. producing a discord. rib). A short appoggiaturawitichis Caimato (It.). Calmly. Etude (Fr. a-tood nA study, in con- Plagal Cadence. A cadence in Cantabile (It. kan-t'-b-). In a which tle final tosic chord is pre- Symphony. A sonata for full or- crushed against tis principal note. tradistinction to an exercise. chestra. The msost important of all Accompagnamento (It. A-km-pau- rsingingstyle. Facile (Fr. fa-seel'). Easy. ceded by te sub-slomistant. ya-man'-tn). Acconpaniment. A fantasy. Poco (It. pl-(. pLittle; as,pVoc instrumental forms. CCantando (It. kan-tan'-d)tc ti Fantasia (It. fan-t-zt). Syncopation. The displacemett of Acoustics. The sciencehich treats asingir n ntoie. . i r 1 w Finale (It. fe-na'-le). The end. not, a little faster. hr cf the nature and laws of sound. a r d Fine (It. fee'ne.). I Polacca (It. po-l'-kl). A Polish rhythm by driving the accent to Loud. dance is 3-4 measure. that part of the bar not usually Adagio (It. il-dii'-jo). Slow; a slow Capo (It. ka'-po). Head or begin. Forte (It. fori-te). accented. movemenit. ning. Fortissimo (It. fdr-tees'-O-mo). As Polk. A Polish dance n 24 meas- loud as tossible. Tacet (Lat. t-set). Silent; a direc- Adagiss imo (It. e-dl-jees'-s-mo). Capric ure, the third 8th-note being ac- Very slow. Capriccio (It. k-prm'-tcho). P orzando (t. frt-snil'd). Suddea S (cented.p i tion for a vocal or instrumental part or fan y. A composition irregular tn%'A). Aovement to he silent. Ad Libitum (Lat. ad lsb'-i-tum). At Chromaticin formn. Scale. A scl i hih force. Polonaise (p -- Tarantella It. td r-bn -til'l 4 ). A pleasure. of three quarter-e tprktch-zeo-n). otes it a measure, rapid Neapolitan dance i 6-8meas- Capricciosoallcpathee toe (It. cuka-pre(-tchlle-o'-zo). n ucsie Fuguetrapuntal (fIg).A style, compositionits which a subject,in co- A Dur (G. X dr). Key of A major. Capriciously. witrecision the rhyetmical csura unthe use; stained after the spider called Affettuoso (It. i-fet-oo-'-zo). Afec- iast; also a dancse adapted to such tratu , ose bite is popularly Celere (Fr.). Quick, swift. answered by other voices accordiig -music. tionately, tenderly. Con Affetu- Choral ter.k'-rat). slowrA sacre sup~pose'd to be cussed by tmussic. oso. With feelig. to certain rules. Portamentno (It. portA-mm-tdo). A Tempo. Tinse; movement. tune. FuocO (It. Ion a' ko).. Fire, essergy. carrying of thn voice, or glidinmg Agilita (It.Aj--t). Agility, Chord. A conbination ofsitisical quickness. sounds, consonat or dissoat. Furioso (It. fk;-r-o'zo). Furiottsly. trotutsl tone to another. Tenor Robusto (It. ro-tsoos'-tf). A Agitato (It. 36j-i-tX1.t). Agitated, Potpourri (Fr. p-poo-ee'). A ix- strong tesor voice. Chromatic. The tones intermediate Gauche (Fr. Gaweb). Left. 31 atit restless; usually implies hurrrying. left hand. ure; a piece of ic composed between the diatonic tes of a kuey. Gauche, different airs strung together; a Tenuto (It. tes-noo'-t). Sustained; Al, All, Alla (It. ll, ll'-l). To the; Chromatic Scale. Ascaleinhic Uiocoso (It. ju-ko -zo). Jocosely. medley. r held. in the style of.2 sh).-tm)Wit deiac. Giusto 'It. joos'-tn). Exact; as, tempo Terzetto (It. tidrt-sdt'-to). A short Alla Breve (It.). 2measure, usually giusto, in exact time. Precipitato (It. irA-tchZlip-tn'-t). piece for three voices. hurriedly. marked a. Clef (Fkief). A key. A character Glissando (It. glis-san'-dr)s. Playitg In a precipitaterttaner; Thema (It. ta'-ni), Theme (Fr. a rapid passage ott the piano by slidl- Precisione (It. pr-tcho- -o-). am). Titeme. The principal me. (It. used at the beginning of a-stall to Presisionea catnss. tliegremente al-lay-grai-mas' ing the tips of te flgers along ii lay). Joyfully. determine the pitch. Prelude (It. ra-lod. A sort in- Coda (It. ko'-d). An added part. the keys. troductory piece. Thorough Bass. A species of musi- Ahiegretto (I.Al-laygril'-to). Mod Grand- aTlegrte. CoMneodo (It. klm-m'-do). Easily, Grandioso (It. grln-de-5'-zo). Porzantanza cal short-haid. It consists of the erately quick; not so quick as without haste. ly. Presto (It. prms'-tl). Extiemely Allegro (It. al-lay'-grl). Cheerful, rapid. bass part, with figures added which Con (It. kin). With; as, con bric, Grave (It.grle'-vi). Slos; solenin. indicate the accompanying har- joyful; a quick movement. (It. grid' ye-lu). Gravity; Prima (It. pre'.nle). First. monies. (It. sAn'-y6). From the with spirit. Gravita Al Segno majesty. Prima Volta (It. vol'-tm). The first Tierce (Fr. tIrs). A third. sign; return to thesigi and proceed Con Delicatezza (It. del-lce-a-- r~rR.retime. si). With delicacy. Grazia (It. grat' se-le). Grace; ele- Tonic. The key-tone; the tone froi to the word Fine. gansce. Quadruplets. Fur equal tosnes per- Alta, or 8va (It. lMI'-ti,or ot-tl-vle). Con Disperazione (It. dn.s-pr-rat- pulse. which all other tones are reckoned, s-ft'-ne). Wilt desperation. Grazioso (It. grlt-se- '-zo). Grace- frined in the time of one An octave higher than written. fully. Tranquillo (It. tran-quil'-lo). Quiet ConiDolore( It. do-r'-rej. With Quasi(It. qua-ses). As if; in tme ly; traniquil. Amabile (It. a-nl'-b-la). Lovingly; Taste; as, con gentle; tentder. sadness. Gusto (It. goos'-to). style of. Con Eleganza (It. rl-t.-gant'es). gusto, with taste. Quintoleta. Five equal tosnes iser- Tre Corde (Rt. tri klr--dAi. Three A Moll (Ger.e mIll). Key of A term of measurement, formed iss the time of oute putlse. strings; discontinue the soft pedal. minor. With elegance. Half-Step. A Con Energico (It. iln-er-gee-co). being the smallest now in use. RalIe ntando (It. rl-en-thn'-do). Tremando (It. tra-man'-do). Trem- Amoroso (It am-n-ri/-al). In a lov- The key of B Gradually sloswer and softer. ing style. With energy. I Dur (Ger. hl door). bling; vibrating. Con Espressione (It. es-pres-si-on - major. Recitativo (It. rt-tche-ta-tce'-vo(. A Tremolo It. tra'-ml to). A note or Andante (It. An-dlen'-i). Literally, It. to', chord made to qui cer or shake. going at a moderate pace; mode- ne). With expression. Impeto, Impetuoso em-p- .musical declamation. Con Fuoco (It. foo-aw'-co)). "With e~m-pa-too-W'-z6). Impetuously. Refrain. Tue chorus of a song; that Triad. A chord consisting of three rately slow movement. (It. en-dd-tche'-zo). Itsde- tones-viz., a fundamental swith its Andantino (It. an-dan-tee'-no). Di- fire. Indeciso which is repeated at tme end of each Co F riaI.fo'rl) Wtsfuy sta ta. third and its fifth. minutive of Andsunte; consequeusty in Tempo (It. it tie' io). Its tints Trill. A rapid alternatioms of two indicates a slow'er naovemesst thsn Interval. The diffesense of pitthi cotitiguous tones of the key; a Assdante. Andantimo is defused in Isetwveen two 1toncc; also their ettect ethake. two opposite ways-uy somse as faster wt-len produtced simuiltateoit-dy. Triplets. Three equal tosses tsr- tha Ansdanteb ostimr as slje Introduction. A short prepatatory formed in the time of one pulse resulting finnsmbs amsguity oms ssoveinent. Turn. Ass orinamenmt in nmusic focused literal meanima -viz., ratmer go Key. A faitly of tosses. by taking the adjoining notes above bug." Grove, tasiner and Barret Key-tone Tue tossic; the toste from amsdbelow tme principal note. define it as "slower than Andanste." whicis all other tones ate reckoneh. Tutta Ia Forza (It. toot'-tib Iuffrt'- Webster and Worcester bulls agmeus Slots; broasily. sa). With all force; as loud as in defining it "less show than Au Largo. o. dtabe." Suprlativeoof leato.hta'0 TteCrde (It. tool-tIl klr dat). All Legato (I.l-l't) discstntinue the sufs anima. Wit animation~f. C soisgiectes time tssngs; Anlmato ( Is. an-nee-mmar' to). tinned until tile 'text is heaud. Tutti t It. too'-te). All; ussed after Lively; with increased speed. Legglero (It. led-jee'-ro) solo passages to itmdicate that all ate A Placere (It. le pe-le-chli'-re). Al Leggieremente (it. ted-jeer-ft- ho join isa lime perfssrmance. pleasure. men'-tay) Us;, Una (It. nuon, oon'-le. A; one. Appassionata (It. le-ples-sS--na'-tle). Lightly, rapid. Una Corda (It. oo'-nle klr-dat). Lit- Impassioned. Lentando (It.ln-te'-doj. aj e erally one sting; a direction to use the soft pedal. Appoggiatura (It. Ap-pldg jl-too'- uingthe time. r), from appoggiare, "1tolean upon." Lento (It. Ian'-t). Slow. Rubato (It. roo-be'-tl). Robbed, Veloce150w (It. t.enn vev6-16'-tch5t). riRapidly. melodic orna- after 8va. stolen; as, tempo rubato, borrowed Velocissimo (It. v6-l-tche6i615. (Ger. Vorschlag). A Da Capo (It.I di kiip'-o). Fon the Loco. As written; used mo). Very rapidly. ment, both vocal and instrumental. beginnitt Lusingando (It. lous itn-ga'-do). tisue-i. e., some tones held longer The long Appoggiatura receives half Da Capo al Fine (It. Al fee-nay). Caressingly. than written, while others are pro- Vibrato (It. ve-brii'-t). A tremulous the time of the following note, and From the beginning to the word Ma (i. ni). But. por tionately curtailed. quality of tone. Scherzando (It. skert-slin-do). Play- Virtuoso (It. var-too-i/-zl). A skill- is expressed by a grace note; the Fine. Main (Fr. ming) Tie hand. ful performer upon a special instru- short Appoggiatura is crushed against Dal Segno (It. ddll sin'-yo). From Mano (It. na'-no-f h fully. the following note, and is expressed the sign. Mancando (It. man-kan'-do). ID- Scherzo (It. skert'-so). Play; sport. ment. by a grace note with an oblique dash ig away. Sempre (It. sem'-pra). Alwsays. Vivace (It. ve-vil'-tchit). Quickly; Damper or Sustaining Pedal. Without; as, through the stem. The short Appog- Improperly called "loud pedal." A Marcato (It. mar-kar'-to). ELis- Senza (It. sint'-sk). sprightly. giatura is the acciaccatura. phatic; marked. senza pedale, without pestal. Vivo (It.ee'-vo). Sprightly, with iechanism which raises all the Septolets. Seven equal tones per- kppoggiatura, Double. Consists Meno (It. ma'-no). Less. life. dampers at once, thus allowing the Metronome (maiy-Irse-niona). An in- formed in thetime of one pulse. of too short notes before a noteof strings to continue to vibtrate. Sextolets. Six equal tones per- Voce (It. vo'-tcha). The voice. and the other strument for measuriig time. A melody, one below (It. da'-cra-shin'-do). Volti Subito (It. vl'-tr soo-bCAVAtO) In all Decrescendo clock-work, to the pendulum f formed in the time of one pulse. above the principalanote. Decreasing in power. Forcing or Turn quickly. cases the time of both is taken from which is attached a sliding ball. (T.f Sforza (It. sflrt'-s). forced. The voica. the principal note. Declso (It. day-chee'-zo). Decisively. See page 13. Vox (Lat. vix). I Selected Listat Piees ad80GBsRecoowendd1or1se-wit8ths1&ad IIIIIIIIIIIC II I
RHHR, P.t IIILLER, P. Ethel Polka...... 20 Op. 66, NO. 2. Grandmother's Dream. 20 French Child's Song 00i .20 Op. 66, No. 3. Lonely Rose. Grandpapa's Dance...... 20 HORVATH, U .20 In the Mouth of May...... 20 Op. 20, NO. 9. Mama's Birthday. Kindergarten, Waltz...... 20 KOIILER, L. 20 BIEHL, A. Len anc Op. 2 i0, No. 6. Cradle Song. OP. 53, No. 5. Child's Prayer .20 Op. 210, No. 7. Soldier's Song 20 op. 52, No. 14. Clock (The) .20 op. 52, No. 6. How Hans and Gretch .20 LICHNER, IH. 0.035 op. 143, No. 9. Parade of the Guard OP 78, No. 4. First Ball, Roudino. Op. 52, No. zo. Picnic Dance .20 Op. 31, No. 2. Forest Flowers, Waltz 20 BLUM9 0, R, MARTEL, C. In the Grove, Schottische ,25 Dinkey Bird, Schottische...... 25 K0 Joys of Life, Polka.. .25 Wise Old Owl 25 Oh, Such Fun, Waltz. o25 MERKEL, 0. Playing Soldier, March Rondo .25 OP.-3V, NO. I- Children's March...... 20 ENUELMANN, IH. 0 RICKABY, To L. 408, No. 2. Curly Locks, Polka .25 OP. OP. 37, NO. 3. Blue Bell, Polka...... 25 OP. 422, No. 4. Pipe and Bowl, Schottiische .25 OP. 37P NO. 2. Buttercup, Mazurka...... 25 Queen of Morn, Waltz .25 OP.- 705, No. i. Op. '37, NO. 50 Primrose, Melody...... 25 OP. 705, NO.- 3. Queen of Day, Schotti-ische .25 OP. 705, No. 4. Queen of Twilight, Ma?Lzurka .25 RUMMEL, J. .2 20 OP. 422, No.xi. Start-up (The), Waltz .25 March . .2 Op. 422, No. 6. Wind-up, Galop .25 SARTORIO, A. .2 GAEL, H. van Op. 229, Dream of Youth...... 20 .20 No. 7. OP.- 48. Beautiful (The) Star,Ro ..Waltz( Itz~LT@h .30 Op. 229, No. 2. .. Italian, a...... 25 Song...... 20 OP. 73- Fan (The) ...... 30 Op. 229, No. 13. Leisure (A) Hour...... 20 Op. 56. Little (The) Hunters, March 125 Op. 229, No. 3. Military March...... 20 740 Tea Flower ...... 30 OP. SCHUMANN, R. 57. Voice (The) of the Heart.0 .25 OP. Op. 68, No. xo. Happy Peasant...... 20 GOERDELER, Re Op. 68, No. 2. Soldiers' March..20 Magic Cradle, Lullaby a PipeCurly .25 Magic Lantern, Dance SMITH, HANNAH .2.5 Merry-Go-Round . * Cuban Dance 25 .25 .25 . Scotch Bag- Pipe . * Fairy (A) Story GUILIAN, A. Garden (The) P'arty...... 25 Holiday March A. B. C., Valse 34 ,.,, .30 25 Cavatina t30 One-Legged (T1b Happy Holidays, Galop .25 Rainy (A) Day .25 Happy Holidays, Schottische .25 Skating.0* School Festival, Polka. .25 STREABB009 L. School Festival, Valse .25 Op. 288, No. t. Merry (A) Party, Yalse...... 25 OURLITT, C. Op. 288, No. 2. Merry (A) Party, Polka. . .. 25 Kermess, Mazurka...... 25 N Op. xi. By the Spring...... 0 0 0 fie) Op. 289, NO. 4. I OP. 130, No. 6. March of the Tin Soldiers Op. 289, No.i. Kermess, March...... 25 Op. 10. Morning Prayer.... WOLFF, B. Op. xoz. Song Without Words.. Children's Ball, Waltz. .25 HELLER, M.P. Op. 120, No. 2. Op. 6, No. 2 Festal March...... 20 WOLFF, 0. T. K 0 Op.6,No.r. GoingtoChurch . . ,20 Op. 25, No. 7. Little Cradle Song...... 20 op. 6, No. 3. On the Playground . .20 Op. 25, No. it, Mill by the Brook.. .20
COLLECTIONS K) N
Easy Pieces for Little Folks.. -50 Horvath. Op. 20. Bon Bons, Album of Easy Pieces ..... 50 Folio of Ea.Ay Pieces in the First Grade...... 50 in March Time. Album of Easy Marches..50 Guritt. Op. gi. Album Leaves for the Young .6o Mdodel First Grade Pieces...... 50 H{asse. OP. 52. Children's Corner. zo Easy Pieces. -50 Whitney, P. M . Little Beginner's Book of Pieces with Words .. 7
0 INTRODUCTION.
This work is designed to meet the wants of those who, appalled by the enormous number of etudes of all styles and grades of difficulty, feel unequal to the selection of what is best and most useful. There are but few musicians who have the opportunity, time and experience necessary to enable tb :m to examine all that has been written, throw away the chaff, and arrange the residue in practical fashion for their work as teachers. To the great majority a concentration into serviceable form of the best examples of teaching material, carefully chosen and graded, comes as a boon of great value, both as a work of reference and for regular use. The National Graded Course is divided into seven grades, beginning with the easiest and finishing with the most difficult steps in piano-forte instruction. It is not by any means intended that the Course shall take the place of all other material. As the pupil will be constantly developing in various directions, the careful teacher will need to meet the exigencies of the hour by special devices appropriate to the case in hand. Then, too, the -mastery gained through the practice of etude material will be utilized in the performance of pieces-a list of which will be found in each grade. Although a teacher can not altogether dispense with watchfulness, no matter how good the material he is using, we are confident that every one will find, in the National Graded Course, all technical problems arranged in progressive order, so that a pupil can cover the entire field of piano-forte technique in the shortest practicable time consistent with thoroughness. We have alluded to the first grade as including the easiest steps in piano-forte instruction. The first steps in playing are, however, extremely important and they cause the teacher the greatest anxiety. Bearing this in mind, Grade I of the National Graded Course has been prepared with the utmost possible care and it offers the pupil, from the very beginning, carefully graded material, embodying the newest and best ideas in elementary instruction, yet holding fast to that which has been tried and approved. Having laid a solid foundation in the first grade, the pupil is carried along carefully, systematically and rapidly through the various difficulties (scales, broken chords, extended arpeggi, octaves, broken octaves, chords, doule notes, etc., etc.) until he triumphantly surmounts them all. With very few exceptions, and those dictated by imperative technical considerations, the etudes are valuable as music, a large proportion being veritable works of art. It only remains to point out the characteristic feature of the National Graded Course-- that feature which justifies its title. "In a multitude of counsellors there is safety" and in the compilation of this work the critical skill of a large number of the most eminent pianists and teachers of the country has been drawn upon, with the result that for catholicity of taste, variety of style, and authority of presentation, the National Graded Course is unique. It brings to the teacher the particular method~s of fingering, annotation, and interpretation used by these most eminent musicians, and gives an insight into the mental workshop of such authorities. This feature of the work will appeal to all teachers, whether experienced or otherwise. The musician who has profited by experience--and who has not ?--is quick to seize and assimilate whatever of good that is brought to his notice. The inexperienced, especially if he lives away from the centers of musical activity, will have great satisfac- tion in conducting his work under the guidance of the distinguished artists and teachers whose work is represented in this Course.W
THE PUBLISHERS. Hrlzz401 07
iS. GENERAL DIRECTIONS.
The great difficulty confronting the teacher at the considered matters of the greatest hiuportance. These beginning of a piano course is to keep alive the pupil's two points, it is hoped, have been settled to the satis- interest. The latter usually approaches the instrument faction of every practical teacher. At the same time, as with a good deal of artless enthusiasm that is very has beent pointed out during the progress of Grade I, the likely to be chilled, if not turned to actual dislike, when teacher should be on the lookout for all manifestations of individuality on the part of the pupil. Each pupil he learns that the things he admires in music are done neither spontaneously nor without thought and that will have talents and difficulties peculiar to himself; much which seems drudgery lies before him. To make both these conditions will need sympathetic treatment. music study interesting after it loses the charm of Another important thing to be remembered is, to quote the words of Herbert Spencer, "that in education novelty, is a task requiring not only tact but also much love for music and music teaching in the teacher's the process of self-development should be encouraged to own heart. the fullest extent. Children should be led to make Grade I, it is believed, embodies all essentials of a their own investigations, and to draw their own infer- sound foundation in musical knowledge. The order ences. They should be told as little as possible and and method of presentation of difficulties have been induced to discover as much as possible."
PREPARATORY EXERCISES.
If the teacher has never used any preparatory Exercise I. Thumb. exercises with his pupils, he is earnestly urged to pre- (a) Place the hand and fore-arm flat on the table cede the actual study at the key-board by at least two with the thumb stretched at right angles and touching weeks' study at the Table. Four weeks woul4 produce the table its entire length. Move the thumb slowly much more satisfactory results, of course; but it will be towards the hand without pressure or stiffness, until very difficult, in many cases, to secure more than two the end of the thumb touches the finger next to it; weeks; the pupil, even then, feeling (possibly) that he bend the thumb at the joint nearest the nail: the ball has been wasting his time, when, as a matter of fact, he of the thumb and its point are the only parts no, has been doing the most sensible thing possible. One touching the table. hour a day is the minimum time for study on the Table Let the thumb slowly resume its first position. exercises. They ought to be kept up as long as the Do this four times, then change hands. pupil needs them-certainly through two grades. (b) Do the exercise by count; at one, carry the By these exercises the pupil will be prepared for thumb to the hand; at two, bend the thumb at its third his work at the key-board, and will not be plunged, as is joint; at three, straighten the thumb at the third joint; often the case, into the midst of numerous difficulties, at four, extend the thumb to the first position. with fingers, arms and wrists entirely untrained. The problems of notation, time and fingering are enough in Exercise II. Playing Position. themselves without the additional handicap of a wholly- (a) Place the hand flat on the table with thumb as untrained playing apparatus. Much must be done at count two in Exercise I; lift the little finger side of before the pupil is placed at the key-board; he should the hand about a quarter to half an inch (the former not expect to gain there that which should be brought will be enough for small hands); pull the tips of the with him. fingers along the table, until the back of the hand rises These exercises may be practiced on any flat sur- so that the first joints (joints nearest the hand) are the face large enough to allow the fore-arm to be extended. least bit higher than the back of the hand, which will Unless otherwise directed, practice the left hand first, in its turn slope a very little towards the wrist. This thet the right hand, then both together. will give playing position. 6
-jA
(b) To practice this exercise with counting, proceed (b) Place the hand in playing position; let each as follows: Place the hand in position;one, bring the finger play as before, but this time counting as follows: one, start the finger up, continuing while two, three, four thumb towards the hand, as in Exercise I at count two; and five are counted; at six, let the finger drop quickly. two, raise the outside of the hand; three, pull the points of the fingers towards the palm of the hand;four, let Take each finger this way. (c) Hand in playing position; count six, lifting the fingers resume their extended position; five, let the quickly on one as far as the finger will go and falling outside of the hand fall to the table; six, stretch out slowly on two, three, four, five and six. the thumb. (d) Hand in playing position; count six, the finger Do this four times with the righi hand, then four rising very quickly on one, three, five and falling times with the left hand. with equal rapidity on two,four and six. (c) Bring the hand into playing position with one movement and return to the flat position (thumb out- (e) Hand in playing position; at count one, lift all stretched) with an additional movement, that is, count- the fingers from the table except the thumb, holding ing two in all. them up until four; then let them drop; when they rise there will, naturally, be a little contraction resulting from the effort to hold them up, but when they fall Exercise Ill. Arm. on four, the wrist and arm should be felt absolutely relaxed. Hold the second Place the hand on the table in playing position as finger down while raising the per Exercise II; without bending the wrist or finger- others and holding them up during three counts, dropping joints, or altering the position of the fingers, slowly lift them quickly on four. Do the same for the the hand with the elbow as hinge, until the hand is as other fingers. high as it will go; descend in the same manner, slowly and with perfect control. Do this four times with each hand.
Exercise IV. Control (Independence) of Fingers. This, like the preceding exercises, should be done with absolute freedom and suppleness of wrist and arm. (a) Place the hand in playing position; lift the thumb slowly to the highest point to which it can be lifted without straining the hand; let it descend slowly. The motion should be so slow as to be barely perceptible. (f) (This is much more difficult than the preced- ing, and should be attempted only if the preparatory Do this four times with each finger in turn. exercises are mastered.) Hand in playing position; lift the hand slightly above the table; go through (a), (b), (c), (d), keeping the fingers off the table. To hold the fingers up and yet be able to relax is a matter requiring the most persevering practice.
Exercise V. Freedom of the Wrist-Staccato. (a) Place the hand in playing position; lift the hand off the table, the wrist being the hinge and stationary, while one, two, three is counted slowly; Exercise VII. Approaching and Leaving the Key. at four, let the hand drop. When the hand is up the board. Beginning and Ending Slurs wrist should be entirely relaxed. - (The arm must be thoroughly relaxed.) From a position in front of the table lift the arm in such fashion that the fore-arm, wrist and hand form an inverted V, the hand dropping loosely from the wrist. The finger-tips ought to be at least four inches above the table. In this position drop the hand on the table 4 RAWL
N II
(b) Hand in playing position; lift hand, as in (a), quickly on one, letting it drop slowly and with perfect slowly, the finger-tips striking it first and the wrist control during two, three andfour. gradually sinking until the hand is on a level with, or (c) Hand in playing position; count four, lifting even a little below the table. In going back, the wrist the hand from the wrist; lift quickly on one and let drop quickly on two; lift quickly on three and drop quickly on four. The arm should be quiet and relaxed; _11 the wrist should also be relaxed. (d) Hand in playing position; lift the hand and drop it quickly on one; lift it and drop it quickly on two, etc., etc.
Exercise VI. Further Development of the Staccato. (a) Hand in playing position; lift all the fingers but the thumb, taking care not to raise the back of the hand; count six, lifting the hand without disturbing starts first, rising until the hand is on a level with the the relative position of the thumb with the other fingers table, the finger-tips leaving last. Keep the wrist -at one; dropping it at two; up at three; down rising until the fingers are at least four inches above the at four; up at five; down at six. The difficulty will key-board. The only bending allowed is at the wrist be that of keeping the fingers motionless as regards and elbow. This exercise is exceedingly beneficial. each other and yet keeping the wrist relaxed. Next lift all the fingers but the second from the table and Relaxation. count six, as before; but keep the second finger lower importance of having the wrist and arms free than the others; and so on with the other fingers. The If they are not (b) Same as in (a), except that the hand is lifted and relaxed can not be overestimated. most seriously and and dropped in one count; count six. so, the execution will be impeded tone hard and unmusical. Playing will be accom. (c) Same as at (a), except that the hand is raised the plished only after an amount of labor as distressing to from the table in the manner described, before the count- as it is disagreeable to the listener. ing begins; at one the hand descends quickly and rises the performer, wrist and arm it is impossible to attain as quickly, returning to its first position above the key- Without a free of finger technique; and octaves and board; this is repeated at two, three, four, etc. Keep to any degree forever remain a mystery. the wrist relaxed. chords will 8 RUDIMENTS OF MUSIC.
This department of Grade I is not intended to teaching the relation of the treble and hass staves, it is be exhaustive. To subserve the convenience of music its own justification. teachers, a number of the things in constant use in teaching are put here for ready reference. This very necessary, but, to the pupil, almost unbearable part of the first lessons may be made less obnoxious if the teacher will teach the thing before its sign, and show a certain amount of interest himself in the subject taught. The teacher should explain to the pupil "higher"
V .9. W and "lower" as applied to musical sounds. The ex- -0- pression of "higher" and "lower," by means of the staff, will follow naturally. Remembering Bacon's wise saying, that "Writing A Sharf ( ) on a line or space makes the line or maketh an exact man,"' the teacher will do well to space stand for a pitch one semi-tone higher. require the pupil to draw all the forms used in musical A Flat (1) on a line or space makes the line or representation so that his ideas may be sharp and the space stand for a pitch one semi-tone lower. thought and its picture simultaneous. A Double-sharp (x) raises the pitch two semi-tones. A Double-flat (>') lowers the pitch two semi-tones. A Natural ( ) on a line or space restores the line *.a0 Thestaff,~~ Great~ aua~ Staffwilflo~ of Eleven Lines. (1) (2) or space to its normal pitch. Either of the five characters just defined, when used in a measure, retains its force only for that
--- . - - " - - - measure and for the line or space where it stands. Some authors contend that when the last note in a measure has been affected by either of these signs, and the next measure begins with the same note, that note re--->2 (2) -IP-sen eatisror---ha (4) (5) will be similarly affected. This rule, however, is by no means generally observed.
Key Signatures.
WAN Hp ~veve ~no C major (A minor). SC major (A minor).
-----FT
The teacher should require the pupil to draw the G major (E minor). F major (D minor). necessary forms of the Great Staff, and explain that the Great Staff shows a middle line; the pitch of that D major (B minor). B, major (G minor). line is "C "-middle "C;" that if five lines only were used it could never be certain whether they were the A major (F# minor). E major (C minor). top five or the bottom five of the Great Staff; that to distinguish the top five lines from the bottom five lines, E major (C# minor). A, major (F minor). the treble and the bass clefs are used (these are also WT called "G" and "F" clefs, respectively); that the bass B major (G# minor). D major (Bl minor.) staff (the one having the bass clef) is a continuation downwards from the middle line of the Great Staff, and F# major (D minor). G, major (E minor). the treble staff (the one having the treble clef) a continu- A L 101 C' major (A i minor). c# major (A# minor). ..A.Lljr- L of the Great Staff. U ation upwards from the middle line - - - Pitches should now be referred to "middle C ;" thus a certain "D" would be described as the third " D" above "middle C," or the second "D" below Length. " middle C," as the case might be. The proper location If the pupil be old enough to appreciate it, the of pitches on the staff is a matter of great importance. teacher may, very profitably, explain the difference NOTE:-It matters not whether the Great Staff be between the absolute and the relative length of musical admitted historically or not; as an ingenious device for sounds. Thus a whole note has no definite length. All we can say about it is that it is twice as long as another The following are those in common use: kind of note; or four times as long as another kind of note, etc., etc. This will do away with the notion that the long notes (so-called) are really long; whereas it is The characters (equivalent to j) and (equiva- usually the case that quick movements are written with lent to I), are also used. "long notes" and slow movements with "quick notes." -2- The upper figure in a Time Signature tells the Table of the Forms of Notes in Use. number of beats in the measure, while the lower figure expresses the quality of the beat. Thus,- means that each measure has two beats, each beat being a quarter
Breve. Whole Half Quarter Eighth 16th 32d 64th 128th note or its equivalent in notes, dots, or rests. means Note. Note. Note. Note. Note. Note. Note. Note. that each measure has six beats, each beat being an eighth note or its equivalent in notes, dots, or rests. Beginning at the left, each note is twice as long as The other Time Signatures are explainable in a similar the note which follows it; but beginning at the right, way. each note is one-half as long as the note which precedes While Counting is usually and preferably done in it. accordance with the suggestion of the Time Signature, it is not necessarily so. The idea underlying Counting Irregular Groups of Notes. is the idea of assisting the player; if he can receive A Trizlet is a group of three notes, playea in the greater help by counting more, or fewer, counts in the time of two of the same kind. The figure three is measure than the Time Signature indicates, it is better to use them. Very often a difficult passage can be marked over the middle note; thus ,1 or 4 or learned in no other way than by counting a large etc., etc. n'mber of counts in each measure. A table showing the number of counts to any given note (the unit of Other groups of the same nature also occur; such counting being in turn notes of different lengths) is as four notes for three (Quadruplet); five for four given below: (Quintuplet), etc. i. If a has one count, the other notes will have the number of counts set against them, viz.: Table of Rests. GroGOar or t Of 0 I 2 3 4 6 8 12 16 Breve Rest. Whole Half Quarter Eighth 16th 32d 64th 128th Rest. Rest. Rest. Rest. Rest. Rest. Rest. Rest. 2. If aln J has one count, the other notes will have The relative value of the rests is the same as that the number of counts set against them, viz.: of the notes, with this exception, viz., that, by license, S les&* the whole note rest is used to express a silence of a full 3 6 8 me:tsure in any kind of time. 2 4 A dot (.) following a note makes the note one-half 3- If a 0 has one count, the other notes will have longer; two dots add three-quarters to its length. the number of counts set against them, viz.: If a curved line (called in this case a Tzie) has only two notes, of the same pitch under it, the second uote is not struck, but is added to the first. 0 I I I I 2 A dot over a note shortens it by one-half or even 3 4 6 more; a dash (,) over a note shortens it as much as 4. If a . has one count, the other notes will have possible. the number of counts set against them, viz.:
J4 . . Bars-Measures-Counting. I I The perpendicular lines drawn across the staff are cailed Bars. 5. If a has one count, the other notes will have Bars divide music into portions, always equal in the number of counts set against them, viz.. note-value, called Measures. Counting depends somewhat upon the Time Signa- 7 I's j jI 0 tures. 2 10 While there are, of course, other units of counting, accented. In (slow speed) the first and fourth beats these are the ones in common use. are accented. The time of an etude may very usefully be taken by itself; this can be done by tapping with a pencil on Various Signs Used in Playing. the table in the exact time of the piece. This is in the The curved line ( -- ) is either a Tie or a Shir. direct line of the principle that each element of a If placed over two notes only, which are of the same problem should be taught separately. pitch, the second note is not struck but is added to the The metronome may be used advantageously from first; in this case the curved line is a Tie. If there the beginning. The prejudice which at one time was are two notes only, of different pitches, or if there are felt against this useful.ally of the music teacher, is now more than two notes, the curved line is a Slur and the happily disappearing. A number of pupils, however, notes are played "legato." will be found who will be incapable at first of using the This ( ~. ) is the sign for Portato or Porta- metronome. In such cases it may be advisable to mento; its effect is to very slightly shorten the notes begin with one note to every two ticks of the metro- over which it is placed. For a single note Portamento nome; when the pupil can play EXACTLY with the the sign used is :. first of the two ticks he may try to play a note with The sign is often used after a Staccato passage to each tick; when this is done correctly, he may try the warn the player to give the note its full time; it is more difficult feat of playing two even notes to each equivalent to the word Tenuto. It also occasionally tick, etc., etc. In this way he may be introduced to the calls for a gentle dwelling on a note. proper use of the instrument. The portion of a composition included between two The speed is indicated by the letters M. M., with double bars with dots, is to be repeated. If the dots figures showing where the regulator is to be placed on precede the first double bar in the composition, the the pendulum. The number of ticks in a minute will repeat is to be from the beginning. be the same as expressed by the figures, and agree The Pause (,.o) indicates that the performer is to wait with those marked on the scale of the instrument. longer than the regular time, on the note or rest over M. M. is an abbreviation of Maelzel's Metronome. which it is placed. The words da cafo indicate that a return is to be made to the beginning. Accent. The sign . is sometimes used to show the point The subject of accent is one of considerable diffi- or culty; but this much will be useful to every player, at which a repeat is to begin. The words al segno, viz., that the first note in every measure, whatever the dal segno, or D. C. al segno, or dal segno al fine, all Time Signature, is accented; and that, if the length of indicate the return to a sign, .. the measure will allow it, there are other (but less The sign 8va ...... indicates that the passage is to be played an octave higher. Under a passage, the important) accents in the measure. In , , , , sign 8va ...... sotto indicates that the passage is to be and (when the speed is fast), there is only one played an octave lower. accent in the measure. In , ,4 there are The waving line (,) is a direction that the chord which it affects has its notes played in succession, be- accents on the first and third beats in each measure. In ginning with the lowest. Sthe first, fourth and seventh beats are accented. The sign - indicates a crescendo; and the In the first, fourth, seventh. ,.nd tenth are sign - a diminuendo.
1. EXERCISE FOR THE LEGATO TOUCH. This is an exercise for each two fingers in turn, beginning with I and 2. Play without metronome at first, very slowly and steadily. Use any five white keys that are in a position convenient for the arm, one key for each finger. Play the thumb on the first count, hold it until " 4 " and then take it up. But meantime the second finger has played its key at the second count and when the thumb comes up on "4," the second finger is still down, not coming up till "5." Do this with I and 3, I and 4, I and 5, 2 and 3, 2 and 4, 2 and 5, 3 and 4, 3 and 5, 4 and 5. In the second step, go through thethe exercise in the same way, but take up the finger that is played first, on the third count. Go through the complete fingerings in this way. In the third step the finger that is played first, rises promptlyat the second count, just as the finger that comes after it is playing its key. This is the legato touch, EXERCISES FOR LEFT HAND ALONE. Sit so that the left arm is in front of middle c. For manner of attacking and finishing thesu, see- Preparatory Exercise N9 7.
J- 40 J- 40
2. 3 T12 5 1
4.
Teachers are ear Inestly urged not to. supply any finger marks beyond those printed.- The fingernsi based, on the principle that the- next note., when on the next degree of the staff, is taken with thInx finger. If one degree of the staff is skipped, one finger is skipped, and so on.' A 40 A -40
A
-wen 74 s n egeeo basete ontffissirpeon henex rincplethatthe Ierinoe,1e wen n th n- 2ay U
d40
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0) 1
EXERCISES. FOR RIHT HAND ALONE. Sit so that the right arm is in front of middle c. -40 8. A,, S40
9.
10. 9- 4j U w U W W U U"
123 -. 53 12
S.1- 4
12.
13.
14.
FOR LEFT HAND ALONE. Introducing notes having two counts.
3wp & 4
16.
35
.140
i8.
FOR RIGHT HAND ALONE. Beginning on- the first c above middle c..
1.9
I - I- f 1 2
0 20. 5 3
123 - 53 13 -46.
21. Jt) 3
J) I
-46. 3 4 22. 'm 3 '5 2 1
A
Q) 4 2 5
A FOR THE HANDS TOGETHER.2, Player should sit opposite the first C above middle C; each hand should be practiced separately; when the etude can be played correctly, at - 40, let it be learned at 44, 46, 48, 50.
4 231C 1.h.
t) 5
(a)
w T- 2 - Cd W (a) The repeated note with the finger touch.
I
I I 24. (a)
FW _w , Uj www 5 (a) Four counts.
(a) Finger touch.
123 - 53 14 Grandfather's Song.
Slowly.
PUPIL.
26.
TEACHER-:
lmk rl 2 - a row HfI w i i
4
- w w IW 5 .w w -d -* S
,a a a a a
i i
Folk Song. FROM THE GERMAN. -60. 3_--m aA
123- 53 15
2-- 4 a - a
e)
- w- 4
a - -. 1 99
-6Q
Pu-lpil.
Teacher.,
5A
-)r (a)
9-) 3 - w w w U U 4
. .
LAW
ch. 16 J- 60.
29. M
MELODY WITH VARIATIONS
~.84. stVariation.~72.
3 2
)mf --- -C Im mf--= 2d Variation.4t
2 3"2
mmf
5th Variation. o 3_ iiiiiiiiiiiiiii-
) m fP)dJP'lq 4-1
Note: In Variations 4 and 5 be careful to use finger touch only. 6 th Variation. 3 - 23
Cd W
123 -53 INTRODTUCING THE DOTTED NOTE. S- 50
31.
. .-...... 50
(~-i~F~ (a)
5 (a No lifting of the hand need be made here.
5 ~ -r
t) I I -
- 2_
340
INTRODUCING TWO NOTES TO ONE COUNT. The pup il. may not be 'able to play two notes to one count, without a good, deal of difficulty. Let i is count twice as many. to the measure as the time signature indicates, using th-e counting tables onrae7 afterwards let him count as directed by the time signature.
50
36
4 123 -53 37.
AV'j opt I. 11 ORL
Ord 4F low G S- o
S- 50. The Echo.
lop) AM
'Opt O'D m 38o
AM -f m %.W TL
39.
low, AM 3 Am AM I
Idol co- 3 ...... 4
Lively. - 80. At Play., A1 1 5AD D 3 2
400' MEL SOMPTI ten AIIW \-%I i I - qw 1 .1 1 1 1 Ami I I ANJ e)V--7 I3 -~ .- ~ w
- 3 4 12 3- .53 19 INTRODUCING THE TIE. See p.10, s~econd column. *1l 50
i I 41. Sfiegoato. I I
of Wv
* 50
------
42,
- W __W_4.
INTRODUCING A MORE DIFFICULT FORM OF THE DOT. Do not allow the pupil to, count four. ov-4;work up to 60.
43.
c1 4.o" -- ' w. ' 4i
46W W 4 +----a.-- o NNW0
I WW 442 ) (a) ,Af
7C7" W - (a) Playing of' this measure will prove whether the pupil has a distinct notion of the difference betwen h AVAM------slur and tie.
50. 5
123 53 20
.)60.
3- 5dm 4
N Q) 46j mf( (a)
V mvmrmW F.LW e Ww
(a) Play the repeated notes with finger touich only.
-72. ______
47o
Playing Tag.
-80.
48.
5
Peasants' Dance. -80.
49.
3 1 5 ______
11 I I ef p cresc. ef 3 a.
.40 %-4
123- 53 ETUDES INVOINING MORE DIFFICULT TIME RELATIONS. Hands separately at first. and no faster than #-60. The proper speed is -60. Andante. CONRAD KINER. r__ 'iPL-W 50. P
535
-,~~~ ~~~' .1 1 r J .. J1J '. . _
.L 4 ... 5
Andante. See note to N9 42. CONRAD KIJHNER. 54 3
51. P
Considerably before this time the pupil has, doubtless, begun to show what are his especial difficulties. These the teacher will have to meet by inventing exercises adapted thereto. Thus, for a stiff wrist the foL lowing exercise, if played daily and in all keys will be helpful. It is not a difficult matter to teach a pupil to transpose any simple exercise into all scales if he has a good ear. Do not use technical terms but let him use his ear in locating the keys belonging to the new scale. After awhile he will find his way around quite naturally. One good result from this will be that when he comes to the point of learning scales,hewill have the notes of the scales in his fingers. One reason scales are so distasteful to apupil is because heis obliged to learn so many perplexing things at once; viz., (1) twelve different fingerings in each hand; (2) twelve sets of notes, one for each scale; and (3) the crossing under of the thumb; either of these is enough to oc cupy his attention without having them all hurled at him at the same time. In transposition take the keys with few sharps or flats, first. (For complete Scales and Cadences, see pages 44 -47.) EXERCISE FOR FREEINCG THE WRIST. (See Preparatory Exercise N9 7.) Hands separately; in all keys, keeping the same fingering. Play each scale through with the first fingering (as 1-2), then play the same scale through with the second fin gering as (2- 3), then with the third, etc. 455 r. h. 3 4 2 3
2
, l. h. ( 123, - 53 5 A Dance on the Grass. Allegretto.
The Trumpet Call.
PUPIL.
5T .
TEACHER.'
(a) Very bold anid vigorous. 123- 53 EXERCISE FOR INDEPENDENCE 23 Each measure four times; bands separately; legato throughout; wrist relaxed, but quiet. 3 1 2
'AtIT 54. EachmeaurehndRaepratey; ourtim~i egat thou~outA -- 4t
54 2
Exercises 52 & 54 are not to be learned from the notes, but are to be taught orally. The notation wo confuse the pupil, although the exercise is extremely easy to memorise if the teacher gives judicious hepbhs exercises are given in a suggestive way only and as samples of the sort of thing a teacher finds it necsayt inveil. INTRODUCING THE F or BASS CLEF.
The pupil should not, think of this clef' as a new clef, but as the G clef' renad downwVAards- PPui'nninP- with midcllp C. AM AM lop,% lah AM Ida2
'-I-~l~i c~p ca I ___ L i 55. V1L~.IC\17U~~\_~ULUrlLI-~'IllyU~IU nfl. h.
Benning on ithe middleo C.
10
lis
Beginning on Ahe firt below middle C.
5 3 5 ti 58. 71:1!1
123 -53 24 EXERCISES FOR EXPANSION. T he ingering- abo-ve the staff is for the right hand; that below for the left. The left hand may pla] neo two octaves lower as may be convenient. legato. Hands separately. -40 to ~60. 125 4121 _Z000002"____2 3 ___
59!5 #432k 23 .;w w 5
PONIt r'l
6) lowI4I Now
-I
legato. 334t 22 2~ 253
~9Ir~ ~ ~ I I low I i l l i I l ii t l
t)~~ ~ W 2 2 ~wr 3 MV 3 54 5 4 4 5
j23 _____ A - .1~1 liii
LL-'-
A
9)T - _L 6F- --
legato.
5°c
A
0, 1 1I,. d-
legato.54 554545 5 4 - -A 9- 3 4 It mmm wi'm"
-I 2 L xf 4 I;W
1 3 5 L I I L 1______1 -_-_
-A- aa a - a dm
40
123 - 53 25 ETUDES USING BOTH G AND F CLEF.
. - 600
6061
II C 13
60b 2 5, 4 ,- 3_ 4
i i T--T--T
610
,.~ I 5 41 I ______
q)
Swing Song.
620
(a) See exercise 52.
123 - 53 26 EXERCISES FOR CONTRACTION.
-40 to 01-60. Hands separately. 35354545 35 45 24 24848 424 3 1 1 3283283 t18 631 31 21 2 1 egt.3 1 53 2 1 lgt.42 42 32 32 3
53534348 43 5 NOTE. Exercises from 59 to 63 inclusive should not to be learned froIm the notes, they should betuh orally. This will make some trouble for- the teacher, but he will be repaid by increased interest on tepr of the pupil. FOR BOTH HANDS, USING&-BOTH THE G and F CLEFS.
-40 to 72. ~1%1~4%1 -04 5 a 4
I' 640 mf~ III II, III
\ I 5 L '_ L' 1 2 1 -
I73_~r(; 2 2 55I -t-- p 65j LE
4I = 1 (a) See note to Exercise 4 about fingering.
INTRODUCING THE TRIPLET. ()The (urved line affecting each group of' three notes is not a Slur: it is one of the signs of the triplet. 50 to 80. 42
T rm iw-A V 4 5 14 1 2 66. P-(b) 72
500!D 1~ -_7 /~ k
III 2 I ures - cen - do p 51
123- 53 27 Lullaby. - 79,- 3_1 L~J 5 452 41
pnot too fast TI 67j jm ~ At a v- O
IV 4 WOO- 5 3
-96. Petite Marche. 5 2, 3 2,.
F - F 68,9/ -mf ~ dh~
5 3 5
8unset. S- 72.
tj 2, 31 ___I __ _ 2.5c
69.< 0-
- - 5 12 54 3 5 i13 1 15 'I?
123- 53 AV8 Two Duets. INTRODUCING THE KEY SIGNATURES OF G and F. *Andante. s-8 C ALTMANN,
-pupil. 1 71f . P mf
2 5 ~700
j 7Z;-r
Tea eher.' mf legato.- p ?If
w 4G - - -a
Allegretto. *.-50. C. ALTMANN.
.
Pupil. Smf
9)& 4
r Teach er.~ leggieio e P I
1 7 J, iy J iiii,
123 - 53 29
2 I
(a) ,p f
0) I
j r { p If
WI
--A 4c
f Caap o.
0)-1_ _ _
______I p___ f 7' -Da Capo.
r W1W 4
(a) Hand touch will be found pre-ferable here. . Tzl * 123 - 53 30 Duet. OSCAR SCHWALM. Andante. - 54.
a. - ~ *~ ~..a *0 *
T 0 (() I 'nt.
TI TITir
poco ft.
- w
AOL. lam, a 1
Paempo.
T' Ti Ti - Ti WTT w TI
- -C - -k - I 'y -
Pa tempo. ------
V -t ~- w
13- 53 31 May Time. Tend eily. o - 72.
73.)
5 31 k 31 3 , _I;a
FO) wI
n- -0 t*') I I I -l - a
5 1 2 3 15- 13 ------..... 5 Contentment. -60.
3 3 -Am3 3 3 4 2i 3
I I'll 74.) 7P-
'51 3 5 '5 ~1-
75.
2I i 5 4 Aft______3 ______
AM a 1 * -sp- "s .
4; 1) 5 2 131 5 ~ 2 123- 53 qo"1 EXERCISES FOR HAND TOUCHjsee Preparatory Exs.,N9 5,d. Very slowly at first,gradually increasing in speed from 40 to =100. r Hand touch,but not staccato. 5
2 2i 2 2 4 4 5 55
4 6 5 4 4 4 1
f2
hem staccato.
123- 53 INTRODUCING THE STACCATO. For practice purposes make the staccato as extreme as possible.
Left hand alone. te,. 0 tell. 780 (a) 14 1U5 1 "if * ten. "..; .. l. - ~~-~-__ 79. 1 3t4n.
800. -- __ I 1 2 2 1 4 511
Right hand alone. -- --A -i I I I I _ L1 S - I- II 81f. 1 1. 1 IIbI *) 1,f I .(b)
I It
S20 1 3 4 5 2 4
1 I4 4 1 2 (a) These exercises may be played legato at first until the notes and fingering are learned. (b3) Hand touch, not staccato.
83 P(S) 2 BOTH 1HANDS, 2 ' USING&2 & and F3 CLEFS.,1a Introducing chordsi also extension and contraction. Practice hands separately, then together.
(a) For chords see Preparatory Exercise N9 5. 123- 53 34 Hunting Song. Lively.
84.
(a) Hand touich, now. legato. In the Church .
85.'
adtuhnr3a enu
dimn. ni. n* 01
(b)3e , egao,fngen ttoch.-~
Sorrow. Slowly. 294 f--t---I---rt----- 86j mf
2 1 12I 4 5 53 (c) Notice the difference in loudness between the hands. 123-,'53 :5 MELODY ETUDE. The accompaniment light and the melody prominent; it is better to exaggerate in this respect at fir .4
Andante. .. 60 F. LE COUPPEY. 3 ~ 4 2, 13
,~n-~YL, 1 8 7. dolce (a) .- P *0-g 0
_ _ 4I i~I 4t 3 ~L 1 -aI 1r ;1r r 1 ~
2 2, 3 (b)__ A 2T~- U 3 4 _T
w - . Tnf i~7-C eves c. ~ ~ p -P-
5 4-55
41) 21 3 4 11I ,1 8
~t~Alk w - mf -t7)- ~
(a) Treat the last notes under slurs very carefully; do nolt snap them off, rather let them gently slip offthfi ger end. (b) Here let the last note under the slur be quite short and bright in tone. EXERCISE FOR PUTTING THE THUMB UNDER THE 2d, 3d and 4th FINGE( Preparatory to Scal6 playing.
Right hand - Key of C only. Pupil must memorize this at once. p4-
Left hand. -- a-pa (d) w e w -* 2*1 - - '1 2 I 2 I I 2
(e) THSi JL W-1v --13 11 Akin-O' As 3 -0- As '..
Tbe arm sh ould carry the hand up and down the keyboard so that there may be no twisting and turingoh haiid. These exercises may be advantageously extended several octaves. 123 - 53 15
36 PU)TTING- THE THUMB UNDER THE 3rd FINGER. to ,~~40 to 116.
1[~.i 1_15I w1m II 8"j1 40 go O
- IV
iw
9)-) -
Let the thumb pass immediately under the hand in preparation for its next note as soon as it is released from the first note in each rub. ETUDE FOR PASSING THE THUMB UNDER, AND THE 3rd FINGER OVER. For the execution of staccato see Preparatory Exercises NQ 6. First counit s - 80; then work tip to '- 60. a-'fter three or four weeks let --72. Allegro moderato. CONRAD KUHNER. I I r
-vw r0 I 90 (a)f
13 mmbpssimed5 2 5 4 3 5 3 f2
74) -- ~T~f~f\~~ ~TI~~~L
W-w-om= I I
5 5 VI I- L~~5 (C) ,
/It 2~aI ~f~F~ It Ak i Am
5IMP _ _21218 _ --- ~cL7 I a) The crescend'i and dirninuendi better be ignored until the study has had much practice.
A23 - I5 37
-60.
91.
Sunshine. Allegretto.
92.
A c. 1I 2 , ~
432 I
Ip -==== : p p ----- := 1 I
Old German Song. Not too fast; wth singing tone.
93.'
t23 -53 38 A Winter Morning. Brightly. C. ALTMANN.
94.
(a) Notice the legato in the left hand. A Story. C. KUMMER.
95.
(b) Hand touch, nof staccato. (c) Notice the difference in loudness between the hands. 123-53 ETUDE FOR ETUDEELASTICITY.39ELASTICITY. FOR
Allegretto. At first -50oi finally k-too. Adapted from F. LE COUPPEY.
4 96' (a) P sckerantdo f 1 rn
99 K. ' I C
A) IF i~ ~pf rit a~.1 e~ ~
-x
L a > it
0r tempo -- Jmbmm.- to'..wdKF'* 1
(a) Properly practiced this study will do much towards a good foundation for free wrist. Attack the slurs with wrist elevated, depress it at the same moment below the level of the keyboard until the last note under the slur is reached, then lift the wrist with a sort of throw so that the last note has a clear,ringing tone.
CHORD ETUDE. See Preparatory Exercise N9 5-d.
97.
123-53 40 EXERCISE FOR INCREASINCT THE SPAN OF THE FINGERS. This must be practiced very judiciously. Pupils who can not stretch an octave will find that (c) and d wl accomplish it after a time. r.h. 4 4 5 98., (a).
qw w p fa -a Left hand an octave lower and with reversed fingering.
4 55 4 5 4 54 5 .4 5 A 3 3 4 3 4 3 434 3 4 (b)
w -w v -& -- - .. - -. - -
A I I I
~1lSQ4e.15r;e 4 5 Y -1-I r. h. .51 (C) (d) - i K 'I I I 15 - 15 1 MRI ETUDE FOR CONTRACTION AND EXPANSION.
Moderato. First e) 40; finally - 80. A
9) I 99 1 I I T I,- (a) p poco a poco crese. (b)
"t u._Am f
0) ii"'iir I I 1 111 I 3 cresc. (b) 4
(a) Under ordinary circumstances the second note in right hand would be played by 2. here the han ic tracted so that it may be played with 4. 123 - 53 41 Duet. SCHMIDT, Mod-erato. 4 -60 8 ------ol I I I 5 2 _ --
eIec PUPIL. nf Vk
5 or
1006
dm- a
TEACHERj Plegato.
8------
dim. FINE. 3 ff --- 7 72
a -a4p-0 IKAm fl, Am
FINE. Mf
:: legato.
8 ------
3
5I 0) 2- 2 D.-C. I pf 1 r
~J ~ ~ 8 4 4 5 4 8
------
r 1' t' mml -o D.C-1
L -0- "j (a) If the under fingering -is used, keep the hand well over the black keys.
123 - 53 VELOCITY ETUDES. The pupil may now be pushed a little in speed. The idea is to attempt a somewhat faster tempo as soon as one tempo is satisfactorily accomplished, accuracy in the broad sense never being sacrificed to mere velo city. At the same time something is always risked in attempting a higher speed, and the teacher may safely be trusted to avoid rashness as steadfastly as undue conservatism. The metronome will be found to be indispensable, both in recording the pupil's speed from day to day and in encouraging him to attempt higher speeds. ETUDE FOR VELOCITY.
When the pupil can play the study correctly at - 60, let him set the metronome one degree faster. If he can play correctly at that speed, one notch faster and so on. But if the wrist and arm are not thoroughly re laxed it will be impossible to get any speed to speak of. In that case the teacher may know that something is wrong and govern himself accordingly.
Moderato, Allegro. ED. BIEHEL.
_ _ _ _ _...... AM a . -0-
I on I, 11 (a)f Lw- MV L a (b)
A 4w
4) ______~1~ + 3 I I 1 -0-0. AD. a.
(a) Finger touch for the runs, hand touch for the chords. Practice hands separately thoroughly. (b) Be sure that the last eighth note in one measure and the first eighth note in the next measure are legato. Mnpa nfn Ald... ETUDE FOR VELOCITY. ED. BIEHL. 5
dr
0) -- a r-- - IK' f 1 3 9
6vi 123 - 53 43 5 5
3 4 - - - - - (c) Observe the whole notes. For (a) and (b) see preceding etu de.5 Song Without Words.
Andantino. -144 C. GURLITT. e-spres siio. 5 5
V-r- r 103 a)P -----4--- ,j Admk .4
5 ____ 5 44 4 5 - 4 I
m - _5 p 4 ...... -
I I r I' a------Ifd7 a9-
4 ~44444
- 4 IA F 5 r II
L 1 H2 i i TIWI 50-TIM 0) p Pfllf
- mm- 4
25& I15 5 A - ~. 2 2
4) V p dim.. I4 1 .9POO 76. -- .4
4 4 ::5 lip
~ .. 2 Ift
I0) deciesc. II L4 'p-Irt .4 a.9-
(a) In this lovely, little piece the melody must be' softly played but yelt more prominent than the lh at
12 3 - 53 44. STUDY IN BROKEN CHORDS. E-D. BIEHL. Andante grazioso. -50
44 _ 4 0 4
W~~ 2~ 2 W '~ 2 p 2 3 (b) A
4 -3 4 2
- 5 I . - *&Al ~AM _0 a
0) poco cee fdinn. c' "j I2 2 -3 AM
5 5 4A 43-_ 5_O 4 3d 4 p ~. 32.2
OT II* II III HIJ p r2
.a 1
(a) Hands of equal strength; there is a strong tendency for the right hand to wobble from side to s-hi must be avoided. (h) Here we have melodyr and accompaniment. 123- 93 4~5 Old French Folk Song. S- 66
At - A. a
56F 105*1 (a)
t,oI t4 . 5
AFT T.-. - - 4 4 3
I 9) -; -#~.i~_~-F- repeat LL- .a-
15 25
---2------___ B 2~8 3 1
_1 - I' ~t- -tpAL AD . -lW-P
a I -t
(a) Here again is the now familiar problem of melody and accompaniment.
STUDY IN BROKEN CHORDS. EBIEHL. Mo derato. From 4 - 52 to 0 - 88. 3 - A 1
106.s
a)Here is combined the beginning and ending of slurs in such fashion, that the I. h. begins as ther.hen. The motion is the same as that in Etude 106. 123 -53 46
3 5 Am - . --9-
1 1 1 p cresc. 2 5 5 4
2
(b) The thumb must slide dexterously from C to B, legato.
CHORD. STUDY E. BIEHL. Andante. No faster than - 60
107.
S 5 5 4 5 3 5 14
2 V 2 II 1 1I~w 1 I. 12 21 2 2 ---4 - 4 l. ,,m o 4 I _
t45 3 34 44 55 4 5 4 21 21 21 21 51 4 , 4 5 2 5 5 5_
OF . dp 7 512 I I 121 I~ dimin. L 321 1 51 2 1
15 0 1 1 -T-----T I 15...... f I 4 14 5 2
a)Both hands use the hand touch,.-- not staccato. Do not play the r. h. detached and the 1. h. legato. 5 123 - 53 ETUDE FOR ELASTICITY OF THE WRIST. 4:7 Note the shortness and lightness of the sixteenth note when compared with the dotted eighth. CZERNY. Allegro. First J-6o. Finally J-9 6 . , - ...... 5 4 5 3.'m
(a) Shorten the last note under the slur. (b) Chords with hand touchithat is disconnected,though not staccato. (c) Echo. (d)A quick,elastic raising of the wrist will give the proper resonant ringing tonej it will be noted the last note under these slurs is accented.The eighth note before the rest ought to be more like a sixteenth note.
123-53 48 First 4h- 40: finally - 80so. ET U DE FOR LEGATO AND PHRASING. MORITZ VOGEL. Allegretto. . . 5 ...
. 5
109.
5 5 4 ______2 4
(~t~a ~f --
A
2 53 42 8 [ 4 5 3 4 2 3428
(a) For valuable finger discipline it is earnestly recommended that the first six bars r. h. and all similar places r. h. and 1. h. be practiced with the following fingerings, viz: with 1 & 3, 2 & 4, 3&5, 2&3, 3&4,4&5, 25 52 5X81; ai 3 i85 (b) When using some of the fingerings in note (a) it may be nec thus: essary to omit the lower note here. 0)
4 42t4 424242 (c) Attack the slurs with emphasis. 123 - 53 5s5252 52525 In June. 49 H. C. M AR DOU(~lA LL. Con motb. -- 76.
PUPIL
110.
TEACHER--)
iT'c
5 -9q:-74 41 3 . ~2
I
110, 1 rT-9 t -ii
qw 1! 1i - ,3 1 1 2 vi 41 21 4~~~ 4___5___4 _ 121 3 2 3 A1 1 4 2 12 45 4 32 1 400*K1 , I It It 7117 , A- - & 4~.. & L
- r- r r r- r r r r r- T F T.S.
~#14
123 -53 50 Cadences and Scales. ALL MAJOR AND MINOR KEYS.
*) In the Melodic Minor Scale, as given above, the 6 th and 7th degrees are raised one semitone when ascending; in descending the 7th and 6th degrees resume their normal pitch. The Harmonic Minor Scale is formed by raising only the 7th degree one semitone. The 7th is raised in the descending, as well as in ascending Scale, making both the same. The Harmonic Form of the Minor Scale is here given, and pupils are recommended to study it. and to write all the Minor Scales in a similar manner. A minor - Harmonic form. 4 ~34 CU 4q -. - 1 2 m -p W 4'
123 -53 A major.. 4 4 3 2--34 1 2 3 2 le 2 1 -3 3
2 AM' - -
I I ,
4 2 A2.1 2 2 3 1 2 3 2 3 5 r gal
ILI AM MW 4-4111L 0
2 2 minor. 2 34 4 7 4 3 2 1 1 3.14111 2 .03 2 1 4 3 -1 Aft AFI M NFWTTI I I I1 I?w. [-w dy gal I 4=Lpiiii M
2 2 3 2 1 1 3 2 1 4 3 . 4 3 2 lu I 0 I -.O 3 1 a 2 3 1-2- Aft I I TL I j I New,w T] ;" qw
3 4 major. 1 5 5 3 2 1 3 3 IL 2 AM 2 1 4 3 2 1 2 13 4 AdIllkdD -00, 3
Ara Ad& r rm Ti 7-ff -T-
2 2 3 3 3 2 2 3 5 4 3 2 a& -Oo- a 'M CN* 71.1 'M -w - w !K UTW Ata I I i = do ja Ogg .Tj dw w L
CO minor. 4 2 2 4 2 4 3 3 3 2 1 4 2 3 1 2 10--p 3 - - 2 9 1 _3 0 ,,OPP[.I 111 .1 . Ow OIL- m rM ITT Vj Ahl Tl m 1 iL 4P
2 a, 1 -1 Ll 3 2.1 3 51 2 5 t.lk* 1 4 3 44 AM Mall"1W I" PW AM 4- 4L 2 I --- - no TL j AP i w - bill Tj F- ---,T I Tj AL OL
Gminor.
123- 53 G minor.
)
123- 53 53 A~major- 41' 23 32 L -2 1fi4 1 3 61-1 23 i.1 OR3:t P: a a-______
I 0 - 321
133 2 1 !. ' 123 1 3 1~
B6 minor.
G6t m ajor.-
) 123- 53 Selected Sets of Easy Teaching Pieces
BY THE SEA. By Eduard Hoist. HAPPY TIMES. By Paul Beahmont. PET OF THE HOUSEHOLD. By Oscar R. The varied forms of composittIn, the Ves'y attractive pieces of the second Blum. tuneful thoughts for which this well- grade, embracing various forms, all of Six pieces of medium difficulty; pleas- known writer is famous, the careful con- which are characterized by melodic ing as well as instructive. Each is melo- struction jnd excellent fingering, all unite beauty. Carefully and elaborately fin- dious and graceful, and all are carefully to make this collection extremely valu- gered; without octaves. fingered. able for teaching purposes. Sp ing's Delight (2) ...... 30 (2)...... 30 Galop (3) ...... Fresh Breezes-Waltz Alpine Greeting (2)...... 30 Gavotte (3) ...... 35 (2),...... 30 Beach Promenade-March Distant Sounds (2)...... 30 March (3) ...... 35 Glistening Sands-Minuet (2) .... a.. . 30 At the Twilight Hour (2) ...... , 30 Polka (3) ...... 5 Restless Waves-Tarantella (2)...... 30 Twinkling Stars (2)...... 30 Schottische (3) ...... 35 Sportive Breakers-Rondo (2)...... 30 Gipsy Dance (2),...... ,,,...... ,,, 30 Moonlit Ocean-Romanza (2)...... 30 W altz (3) ...... 35 KERMESS Op, 289. By L Streabbog SIX EASY AND PROGRESSIVE PIECES. THE CHILDREN'S BALL., Op. 2. By Paul Another fine set of dances to make the Op. 8. By Bruno Wandelt. Kaiser, path of young students pleasant and profitable. In various styles and different keys, Excellent and very useful study and but not exacting upon the hand or mind. recreation pieces in the second grade. March (1) ...... 25 All are favorites with pupils. Absence of octaves add additional value Valse (1) ...... 25 to the collection. Carefully revised and Tyrolienne (2) ...... 20 fingered. Polka (1) ...... 25 Venetian Boat Song (2)...... 20 Polonaise (2)...... 25 Mazurka (1) ...... 25 The Dancing Bear (2)...... 20 Tyrolienne (2) ...... 25 Schottische (1) ...... 25 Heart Leaves (2)...... 20 Schottische (2) ...... 25 Galop (1) ...... 25 Gavotte (2) ...... 20 Waltz (2) ...... 25 LAUREL (A) WREATH. By Henri van Gael. Serenade (2) ...... 20 Polka (2) ...... 25 The taste, as well as technique, is im- SIX EASY PIECES. By Eduard Holst. proved by the use of these well-con- EIGHT LITTLE SKETCHES. By Arthur structed pieces, which possess great mel- Prepared with a view of providing easy Allen. odic charm. pieces for small hands, without requiring the stretch of an octave for either hand. Strong contrast in style is presented The Voice of the Heart Romance. Op. All are carefully fingered. As an "early in this pretty collection. The complete 51 (1)...... 25 set" for pupils, we strongly recommend set may be used to advantage, and with- the "Six Easy Pieces." out weariness to either student or The Little Father Pastorale. Op. 52 teacher. (1) ...... 25 Gavotte (2)...... 25 Guitars and Mandolins Serenade, Op. 53 Lilac-Yorke Dance (2)...... 3C In Merry Mood (2)...... 25 (1) ...... 25 Lily-Waltz (2)...... 30 In the Night (2)...... 25 The Coquette Valse. Op. 54 (1)...... 25 Pansy-Polka (2) ...... 30 Rose--Gavotte (2) ...... Melody (2)...... 25 The Skaters Mazurka. Op. 55 (1)..... 25 .30 30 Menuet (2) ...... 25 The Little Hunters March. Op. 56 (1).. 25 Violet--Galop (2) ...... Organ (The) Man Plays (2)...... 25 Slumber Song (2)...... 25 MERRY (A) PARTY. Op. 288. By L. SIX TONE PICTUOES. Op. 4. By Ernst Will o' the Wisp (2)...... 25 Streabbog. Kullak. On account of their dainty prettiness Full of melodic charm, to which may these compositions prove very acceptable be added brilliancy in many cases. A FIELD FLOWERS. Op. 37. By T. L to little performers. At least that is very useful set. Rickaby. what we are told by those who have used On the Green (2)...... 25 them. A dainty set of dance movements pos- Witch Dance (2)...... 25 sessing much attraction for melody-lov- Valse (1) ...... 25 ing players. Each number is well writ- Waltz (2) ...... 25 ten and with care as to ability and re- Polka (1) ...... 25 March (3) ...... 25 quirements of young students. Mazurka (1) ...... 25 Maiden at the Spinning Wheel (2) .... I5 Golden Rod-Galop (1)...... 25 Schottische (1) ...... 25 At Church (3) ...... 25 Buttercup-Mazurka (1)...... 25 Gavotte (1) ...... 25 Blue Bell-Polka (1)...... 25 Galop (1) ...... 25 STRAY THOUGHTS. By Edgar Lyle Justis. Daisy-Waltz (1)...... 25 Characteristic compositions of much Primrose-Melody (1)...... 25 MOTHER GOOSE DANCES. Op. 408. By beauty and great usefulness, requiring H. Engelmann. careful thought to produce the intended Fox Glove-March (1)...... 25 effects, which are charmingly contrasted. This composer, who possesse the gift "Little Coquette" and "Little Boating FROM CHINA LAND. By Henri von Gael. of melody in a high degree, seems to Party" are somewhat easier than the Characteristics of the East are por- have almost outshone himself in this at- others and are properly c'assed as Grade trayed in musical form in these pretty tractive collection. I. pieces. Attention to fingering and cor- Curly Locks-Polka (1)...... 25 Niobe-Valse Lente (3)...... 20 rect phrasing is a strong feature. Humpty Dumpty-Schottische (1)...... 25 Leisure Hours-Moment Musicale (3).. 20 In a Palanquin. Op. 72 (3)...... 30 Jack and Jill-Galop (1)...... 25 The Little Coquette-Rondo Giocoso (2) 20 The Fan. Op. 73 (1)...... 30 Little Bo-Peep-Mazurka (1)...... 25 The Little Boating Party-Barcarolle Tea Flower. Op. 74 (2)...... 30 Little Boy Blue-March (1)...... 25 (2) ...... 20 On the Blue Lake. Op. 75 (2)...... 30 Mother Hubbard-Waltz (1)...... 25 The Hero's Tale (3)...... 20 The Jugglers. Op. 76 (2)...... 30 Scherzetto (3) ...... 20 Fantastic Idols. Op. 77 (2)...... 30 MUSICAL PICTURE BOOK. Op. 210. By Richard Eilenberg. FROM WOODS AND MEADOWS. Op. 59. STUDY AND PASTIME. By Richard Goerd- Brilliancy, combined with ease of exe- By Wilhelm Lege, eler. cution, is the general characteristic of A pleasing melody; an interesting char- Nearly all styles of phrasing and tone this fine set of teaching pieces. acter sketch, a beautiful little waltz, a production are embraced in this fine set, Dance (A) in the Fields-Waltz (2).... 30 charming descriptive composition and a which has received the approbation of Doll's Cradle Song (2)...... 25 "cute" little rondo, make up a most On the Swing (2)...... 30 pleasing and profitable collection. All are Dance of the Sylphes (2)...... 30 without octaves. 30 Ring Around a Rosy (2)...... 25 Lullaby (1) ...... Butterflies (3) ...... Snowman (The) (2) ...... 30 25 Whispering Reeds (3) ...... 30 The Mill Wheel (1)...... 25 Sweet Evelyn Waltz (1)...... (2) ...... 30 25 Song of the Sirens (2)...... 30 Scotch Bag-Pipe (1) ...... 25 Rustling Brooklet (l) ...... 30 Merry-Go-Round (1)...... 25 OLD KING COLE AND HIS FIDDLERS GOOD WISHES. By Adam Gelbel. THREE. Op. 422. By H. Engel- SUMMER (A) DAY. Op. 430, By H. Engel- mann. melodiousThe composer, and usefulwell known works, by herehis manypre- imann. It is remarkable how quickly pupils sents a unique collection of beautiful and become interested in the pieces forming For knowledge of some of the higher interesting pieces, the educational value this pretty set. Not so very remarkable musical forms in an easy style, this col- of which is greatly enhanced by the either when their beauty is considered, lection is well commended. carefullypretty themes. fingered. All of the pieces are Little folk like pleasing things. At Dawn-Reverie (2) ...... 25 King's Delight-Mazurka (1)...... 25 Hop on the Lawn-Polonaise (2) ...... 25 Christmas-Tempo de March (2) 35 Happy Old King Cole's March (1) ...... 25 Jolly Parting-Scherzo (2)...... 25 Happy Birthday-TempoNew Year-Tempo de Gavotte(2) 35 Out for a Day's Sport-Rondo (2) .. de Valse (2).. 35 Pipe and Bowl-Schottische (1) ...... 25 25 Start-up (The) Waltz (1)...... 25 Summer Night-Nocturne (2) ...... 25 Pleasant Summer-Melody (2) ...... 35 Tweedle-deePoka (1)...... 25 Good Morning-Scherzo (2) ...... 35 Wind-up-Galop (1)...... 25 SUNBEAMS. By 0. R. Blum. (2)...... 35 Good Night-Berceuse As it should be in works of this grade, PALMS (THE). By Henri von Gael. elody is the predominant trait in this HAPPY HOLIDAYS. By Alfred Giuliani. truly good collection. Each charming piece delineates one of Especially designed to interestusual youngdance the usual dance forms in an interesting players br presenting the Bessie's Schottische (1) ...... 25 forms in a manner at once pleasing and manner. Blind Man's Buff Galop (1)...... 25 instructive. The Little Parade (2)...... 30 In the Grove Schottische (1)...... 25 Valse (1) ...... 25 The Beautiful Star (2) ...... 30 Joys of Life Polka (1)...... 25 Polka (1) ...... 25 The Clown (2)...... 30 Nimble Feet Polka (2)...... 25 Schottische (1) ...... 25 The Masqueraders (2)...... 30 Oh! Such Fun Waltz (1)...... 25 Polka Mazurka (1)...... 25 Gavotte Mignonne (2) ...... 30 Playing Soldier-March Rondo (1).... 25 Galop (1) ...... 25 The Chase (2) ...... 30 Young Cavalier's March (2)...... 25 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).
Preservation facsimile printing and binding by Northern Micrographics Brookhaven Bindery La Crosse, Wisconsin 2011