Consisting of Standard Etudes and Studies, arranged in progressive order. Selected from the best composers for the cultivation of w w ww TECHNIC, TASTE, AND SIGHT READING | Carefully Edited and Annotated and Supplemented with Complete Directions for the Application of Mason's System ‘of Technics in each Grade for the production of a ut vt wt MODERN STYLE OF PLAYING COMPILED BY W. S. B. MATHEWS © 5 2 TAR Bo a= STANDARD GRADE ~L STANDARD GRADE VI STANDARD GRADE I _ STANDARD GRADE VIL STANDARD GRADE Il @§ STANDARD GRADE Vil STANDARD GRADE IV STANDARD GRADE IX STANDARD GRADE V STANDARD GRADE X PRICE, $1.00 EACH GRADE Philadelphia DONE, 01" 1712 Shosiqut Str.DICTIONARY OF MUSICAL TERMS. Accelerando ( pronounced» alskelerando, becaming fate, acl cman, Adagio (prom adsixe, sly ‘Ad ita, ar you please plate (prom, ajetats), agitated, exited sleet, dies, somewhat fast Allegro (AP), fant, rapid Andante (And), so movement, gui Andantino, zomesha faster than Andante. Animate, animated, fall of ral Aepetsio (fron arfejte)s harp-like: Breaking or detaching the toner of chord. Asal, rey A tempo, i requ tie. Ta, the base is, tice. Cadena, brilliant foursh fore the lose of @ pee Calando (CL), geting aver and sft Calms, cated down, gue Cantabile, Cantando, ra singing st, sole Com, with Content, the distinctive gual of any pie Crescendo (cts) (from Aretheds), creasing in force, Da Capo (D.C), from se dginins Dat Seano (B. 5.) (prom dal seye, from the sen fp Diminuendo im.) decreasing i strength Does (dol) (prom dolby), sf and sue. Energi (prom ener), with nergy and wer. Finale /enalleh, the ast motement of te tage form. Fine (prom. fenay), ond Forte (J), ld and stn. Fontisine (7), ery tnd, (Aff). a8 loud as pose Forzato (forts) (7), Strato Cf, Y), stv accentuate aslowo (gratis), Con rai, cracls argh, ot a5 sem ar Largo. arp sine, protracted: sewer than Adal Legato, ted, bound Legatisimo, 2079 much downd Leno, sw. stesso Tempo, Me same emp or ine Loco, fly the notes as printed (ased 10 indicate dicotinuance 0) Macstoso, sith majesty diguled. Mareato (nst,), made prominent; strongly marked M. Da, wight hand M.S, lt hand Melanconico, 1a Meszo, gf, Mecaoorte (m), miiing loud; Mes2opiane (mp), ‘midi softs Mena voce (om. £.), ith sappresied ttc Moderato, moderately Malt, ery, much, many mp, mesons place (prom. pitehaye), ae you pease, af srarure Piano (feof: Panssimo (99), very salts (ppp), as sty as “peste Pru, mores Bu moo, fete Pzscat (pitscale), picking te string axon the guitar Poco, un poco, a litle; Pocoforte (yf), somewhat oud. Presto, quiets Prostmimo, ery quick Pale, cunt, beat allentando (tal) rearing he temps Ritedando (ard, it), earding, slower by degrees Rite (les, Holling bach Schersando (hers) (prom. shertando), gay sayfa Scherzo (prom serio, altel composition Septic, simply, plan Sempre; always Senza, wien ‘Senza Pod, without pedal Sil, simian, conning in the some manner Somenito (saten.), sustained Sotto vce (prom. tathay), softy as if in an undertone Spirton, Con sto, wither, led Seacrato (Hace) cut af suddenly sort tone. Tempo, the me or measure of time Tempo dt marca, i march tempo. eto (te), el “Tut, at Un poco, a Ht Vale, wale a dence Vivace (ron. sertatehay), daa Vivo, sre— ep ! Consisting of standard Etudes and Studies arranged in prc ive order. Selected from the best composers for the cultivation of TECHNIC, TASTE and SIGHT READING, a — jarefully Edited and Annotated and supplemented with Complete Directions for the Application of Mason's System of Technics in each Grade for the production of a Modern Style of Playing. COMPILED BY W.S.B.MATHEWS. ~ a —— ———— STANDARD GRADE VI" “ STANDARD GRADE I 3 HAR ae ft STANDARD GRADE VIL . , STANDARD GRADE Vil" STANDARD GRADE IV =< = STANDARD GRADE IX STANDARD GRADE Y \ STANDARD GRADE X PRICE $100 ACH GRADE. Philadelphia “Phoodore Fremor@ IN2 CheshpuSic LamgrQn Wy 7 PresserELEMENTS OF MUSIC NOTATION sFrohte or G Clef == THE RELATIVE VALUES OF NOTES, RESTS, DOTS, ETC. Each note or reat is twice the length of the succeeding, inrouped rouped xtouped Nore: wat nrter | Blgieh Slateenth Thiyeet ners HE= Ea a = Dotted Not¥s, 4 dot placed attera note increases its length by but a dotted half (4) ia equal to cavee quarter notes (ded); te. ‘ny hls Es nla rte) Tv eal inne teoaifmes When ere data nr placed arate the secon dyed he ble dotted whale nate would therefore be ifnote aid a quarter note (oa); but edotted whole note (oy) equal in length to ?hree half value ofthe first. A eter (242), Soa half note (S}leequal to feo quarter notes eal, equal to whale hate, Bor Double Bar Measure Repeat = a EXAMPLES ON THE VARIOUS KINDS OF TIME ACCIDENTALS Double Time Triple Time: % x orf bbb Sharp Doutie Sharp Flat Double iat Natural ‘Sacer Siar B eataral SECTION OF KEY-BOARD OF PIANOFORTE TREULE CLEP SI | BASS CLA wiser t Pr Ga Bo DEF , ar Copyricht 1082 Tao ve Treo eee GABCDEFGABCDEFGABEMASON’S TOUCH AND TECHNIC IN THIS COURSE. Ie sof te “Runa tel are nt oh Stas ecteetn. ore coe Estes at nse ais iat anette” eae BESS i es eee el serbian i te eat Ro Sitaest EPL evn ent mn ces me RG Wena ter ley. All the ingr joints are curve, so that the entire outer, ie titers bat Wee weer ae do not make a iaight Line upon the keys ta curved ine, deae Di ecient Soe tariete m GEES fale ec ot ee See itt Oo ar i owen no mettre te cul tie Geceyeatahy Stat ike DPC ss re mg a vita nen anlar ot Ee estheuiccaa at ‘After the hand position has been acquired, begin, with “eMason Two-Finger Exercise in clinging touch, No a. When, this is carried through the fingers successfully, which it will be after a few minutes’ training, give the first steps towards the exercise for elastic touch, No. 2. ‘Thus the two-inger practice will go through the frst iesson in these two types, Rt the second lesson improve the elastic touch, an introduce > the moderato form, No, 4. Henceforth these three forms go together, a8 the first part of the daily practice. About the ‘eighth of tenth lesson introduce the second rhythm, Nos. 3, 5. Grete. Henoelortirtarry all together, or ifthe dally practice & too short to permit so great a subdivision of the matter, ive the ft rhythm at ne Ieson and the second at he next {nd so on alternately. Apply the various forms of expression jndicated in " Touch and Technic," soe Nos. Sto 13,ete, About the Bteenth lesson introduce triple measures, Nos. 14 t0.16, tte, and the velocity forms 17 to 22. About the twentieth fesson take up the broken thitds, Nos. 23 to 40. When the pupil has worked upon these for about a fortnight, recur gain to the exercises in the diatonicscale, Nos. to ze,” Later ss game back once more to the broken third forms. 5 "This will be sullicient for the two-finger exercises during thie grade, The daily practice should amount. to about fifteen minutes upon them. The light finger touch in playing will be facilitated by the practice of the Plaidy tap- lets with each hand separately (see No. 53). Later the five: finger forms will also be useful; and still later the scales, ‘THE SCALES. ‘grades at least five scales should be "Bach scale with one hand at a time trick (€.., the instinctive selection Signature) and for cor- rect fingering; and then in rhythmic forms of various kinds, preferably in a compass of one octave, or at most two. In Simple forms, with one tone to a count, in 4-4, 6-8, and 9-& ‘measure, continsing each form yntil the accent is completed by falling upon the tone where it began Later the same, all measures of 3, 4, 6. 9, and 12 counts, with two tones to Unt of ines and aervards wih tre, Stil ner wth Fou “Rhythmic Table” may be interposed at any point where itsoems adviseble. See “ Touch and Technic.” Vol. IT, Exere cises a, by c, and Ex. 2, 3. 4. The scales in the first grade Should’not exceed one setuve compass, and never with both hhands together. For a complete table ofall major and minor scales in one octave compass see the last page of this volume ARPEGGIOS, It ig a matter of choice with the teacher whether the Ar pesgio or the Seale should be given first. Upon the whole Berhaps the Arpeao wil be tte on acct of is separa {ng the fingers, and using the fourth as often as any of the others. Moreover the principles of accentuation and of rhythmic grading are more naturally ‘applied. to arpopsies {ha to als, And he resulting amples uniies are more easily apprehended by the pupils nthe First Grade, or the Second at latest, give the Arpeg gio of the C position of the diminished chord (" Touch ‘nd Technic," Vol III, Exercises 1 to 3). This s to be done orally First teach the placing of the fingers over the chord, beginning with Cand skipping over two keys before putting te next finger down, 20 that the fingers are equally separated. At ‘the next lesson transfer the decent, and twgin «pon the exercise in graded rhythm, giving atthe first attempt only the quarters fan eighth notes, At the next lesson give the sixteenth note rade, and apply the same to the transfer of accent, Ttis, of course, understood that any of these exercises may’ be introduced as the teacher conceives best; and always in foaly a small amount with any one lesson, "The tendency is 1» make the technie more fluent, surer and more natural EAR-TRAINING. It will be much better for she musica! faeure of the stwis¢ ‘fa certain amount of ear-training be administered in conjunc- tion with the exercise of reading from the notes. It is desira- ble that the student learn to seize an entire group at a glance, just as one reads an entire word without spelling it out. Pre liminary to this, the staff can be taught, and the pupil required to place dots upon the proper degrees of a nu*? staff (drawn off-hand upon a sheet of paper) according to the teacher's playing. this exercie with forms of two tones, a6 EDC, CEG CPC, etc. Play the three tones, then have the up te them, ora et dot spon the al fo corenrond fer a few carly actempts of this Kind, cause the pupil t0 tum the back to the ieyboard snd tl Sam ear whieh tones are played, dotting them after naming them. ‘This exercise “ontinsed from lesion t0 lesson, for tenty minutes st cach fie, will be of great wee to the musical comprehension ot the written exer SES chs ae 0 bs played with ach hand alone before playing. them with. the two hands together ‘The proper proportion willbe to play each exercise four times through withthe eight hand, an four times through withthe Jefehand then four times wit both hands together, Count. ing aloud the tine frm the very frst Te may not be thought neccosry forthe pupil to play so aany sos of neury the same degree of deity hue it Tettor to err i giving too much than too Kittle. Besides, i the exereises are given in sufficient quantity, there will not be too many of them. "In other words they wil be completed ‘within a reasonable lapse of time,Material Suitable for this Grade ARRANGED IN PROGRESSIVE ORDER In Dance Form ‘Somi-Popular and Classic Key Price No. Key ive 0, RERN.C.. Re Roses-ValteOp185,N0.4 "G26 04N9 | SPAULDING,G.L. Delle Dream oes 5718 STREAUBOG,L. My Fit Waltz, Op. 118,02 6 13 2980 (TrebieCafonte) LAWSON,” London Bride Fo25 e080 | «wu The Lito seanger © 25 578 NORRIS HOMER tn tne Bost. Walte es sean (Frebie cicfom SALOME,TH. "Flying the RitevOp.44,Not G20 4106 | @ cu Bunch Flowers F 25 66a FOREST. ED.D, Heartecease Waite © Cintese) (rete Cegonty SCHUMANN, R. Melody, 0p.68,¥o-1 © 20 abs Guruet. a tip. Scop Sehoctsche F 25 408 | oBHR,F Chites Piny,0p.579.N0.2 G30 8B ZINMHKMANS,J.F Our Feet Walte F 25 2168 (Frebte Cefonte! BACHMANN, Contritnaale © 20 2000 | keRN,c.w. Sunset Giow-Op.458,No.2 G26 6407 KRENTZLIN,R, Laie Brothersalts,0p-22M02 © 20 Suet | LINDSAY, CHAS. Early Mor © 25 6880 (treate Cf only) (Prebie Crs only) DAVIS, AS, Txm a Soldier March © 26 4802 | RICKABY,T.L. Well-known and PworiteMrtodics, GURLITE,C.Marchofthe Tin Soitiers.op 130 F 45.6842 ‘Op.iB,Novt-Bin-lusie, GGh, D 60 2312 SCHUMANS,R. Soldiers March,Op.68, Nor? G20 “RBA su Welltnown and ovr tae BEHE,FRANZ Gully Chanting Waite,Op.603F 20.188 OpAONontefinciiive, CFG 80 8861 ENGEL A Flying Sparks-CGatop,0p.8,N08 G 26 4185 | ENGELMANN,H. Day Dreamn,Op-487,Nol C85 MBO MARTIN,G.D. Lite -aeere- Walt © 40 4na7 (Probie te ante! OBHMLER, LEO Playing Sotdier,0p-70,NeA CAO 5694 | SWIFTLN.E, —— Katyasd, O77, Sed 45 3097 (rete Clout) (reebte Pp only WOLE.CARL —Faminthe Payeonm-Walte © 906740 | BERTHOVEN,L.v- Allegrts from 7h Somphone, A Mind (trate rf ony) HAYDN, FR.JOS. Ananne fom surprinsympony, Ct BECHTER, KARL Bleycle Galep © 88 6000 | KERN,CW. Sone the Ratytid,OpABSo2 C25 RATHBUN.E.G. Dance Semple © 25 216 | FERBER,R. — WithsteCaravan A Min, 35 HAMERGE. Ber Rose-Waltz 80 4308 | LAWSON,PAUL Playfel Kittns Fa HORVATH,GEZA Marchi the LitteSotdiers,02 20 G99 gang (Free Cf only) The Jolly Teamprter,Op 40H F LIEBRR,AL A Lite Sone G88 3808 DEREE.RE, The Marchot the Gnomes © xe ana | NURwBERGn AcEventdeOp.885,Not C12 age KERN, CW. | Tin Siltiers’Purade,Op 19,805. G25 4888 Vatsete a F BERGTHAL,UGO Soldier’ March,Op i1,8o,2 G25 game | SPAULDING,G.L. Tin Pan Guards’ Parole 25 5707 BECHTER, KARL. Jolly Darkiex © 33 $008 (vintect) ENOELMAYN,1, To the Dinaer,0p.660,N0.6 D0 9810 | SWIFT,N.E, The Tally. Ho, 0p.7, No.7 © ss ator HOLCOMBELLY. Lite Cary-Hlend Marchyop.6 C25 Reto | THOME, F First Melody © 20 sa02 RENARD. Morning Glory- Polka © 80 4207 | MULLER,AUG, Crate Sone © 25 258 Lal Tite Dram Majonarchp8. 28 4tRa | REINECKE,C. Evening Twilight Fa PARLOR. InMeaserat Ton © 30 4201 | GURLITT,C. Slumber Songs0p.101,No.6 20, ENGPISIANN,H, Liule Miss BeiderSohot,0p.007 © 25 4000 | GEIBEL A Balm forthe Weary © a0 METELER,B. Yin Golng Far Aus’ ce BEETHOVEN, Lv. AndantesOp.47 ¥ 20 Four Hands SARTORIO,A, " Onthe Paina, 0p.860,N0.8 A sin. 20 ENCKUAUSEN,ML, wetodious Stuiies,0p.58.Not 60 t00n | MURNMERGti, Hobgoblin, Op-298,N0.10 ain, AB PRPSSER.THL "Stott Foor Hand Paying Volt $1.00 #92 | GURLITH,C. Morning Song. Op 140.402 F139 LELCOCPPEY, F. Melody ae Sarmuring Brook, Op-140, 80.6 SAWTOWO,A, Rly af Pay, Op.222,No.8 ‘ha 2509 | BECHTER.K. Sweet Bees Gavotte 2 Meadow Play, Op.82,N0.2 20 seat | FRREER.R. Inthe Hammock 2 Raatie Dance 40 A4it | TROJFLLLLA. chiming Beil € 35 MILLER,D. Secret Wishes, Op.51,No.6 20 978 [ws Lite Couriers 6 35 SCHLESINGER,S. The Hunts Up {40 4202 | TSCHAIKOWSKY,P. Dolly's Funeral, 0p-80,N0.B Cin, 1 Se Busia of « Dott ‘40 4800 | SCHNECKER,P.A. Rustic D C28 * “Mates tir 40 4030 | HIPSHER,E.E, The Orioles Latioby © 30 GOERDELER,R.” Young Ameries Woek 403387 HARTHAN.E. Childhood Days 0 "THE DUET HOUR, Various Composers 0 ‘ Collections Studies STANDARD COMPOSITIONS. WoLLG41,Compty WSKataiows. 60 | ENOEIAVANN., Stalents'Steced Primary Station. 80 8355 STANDARD FIRST AXD SECOND GRADE PIECES,Compitedy CZERNY.C Enayand Propeeceive Stuonp430 MAL 28.700 W.S.B.Mathows;4t Pieces, 77 PagenCssicaland Popater 84.00 | BENENS, FasyStatieswithoutOetaven,Op.70.RKLAO 186 ‘TWENTY. FOUR PIECES FOR SMALLHANDS, REnguimana 60 | DCVERNOY,}.B. Primary statics 09.176, 80 1080 LITTLE HOME PLAYER, Varioes Composers 30 | Wourr® 120 Short Bxereant forthe Bque]Train- FIRST PARLOR PIECES.) 5 50 ing of ots ands, 09.194 ‘30 4248 Hist DANCE ALBUM BO | CzERNy,c — Seisted Statist. Lirtting) 80 TUNES AND RUYAES FoR THE PLAYROOM, NOESCHHORS,A, ww icon’ shoo s846 50 | KURWERC Piasise Scho of Ben Volk a ‘eal or Inetramental, Geo 1-5STANDARD GRADED COURSE GRADE I The Start ‘To. beginner absolutely new to the Keyboard and steff, take lnty of time upon this first axerclae, Teach teat the postiono? the hand upou the keys; then the names of the keys wher the Five Fingers; and then the stuff places correcpontingeach hand hy'itseltAU Tirat omit the counting hut come back later and do In No. the rhythmic principle becomes more important. Begin by teaching the positions and staff places as before. if nece ry.then learn the first twa meastres.by playing st thr times through in succession, counting the time: nextthe rd ane {ith measures in the same In No. ther fitout how many and whether exactly repeated or with slight Aifferences. Touch the quarter noto,the pulse note. Als the table tthe whole note, half notes and quarter notes: how many ofeach, Lhe accent after the bar la very slight. The touches must be rd with the hammer action ofthe flagers, but at est with= {out Faleing them at al high for the keyera alt inch pre = tory Ws making the tone ie sufi 1 observed that the melodia the firsttwo me mahich is repeated in the later measures ing the confusion of the whole. An iden thus Pe Tequence Is called a*motive’ because It faim7 and 8 ‘poate in pa ‘equal the next larger. The curve line under the notes in the first Imeasure is called» Sfuryit Indicator conmecton between the on Dat ie does at imply any disconnection fromthe next tans MLM. d=60-80 7 gi Po *| Motive! | Motive 1 | Motive] Sty slurs The leading motive im. Jlocours with one ending in m-2 and ‘witha different ending in m4. One ending implied Yo be continued, eee = 17631 Ponitions,fingeractionand note val the same as Previouly —_———_6 In No.5 « more pleasing melody occurs. It consists of four | gain the subject; the final answer ig the closing phrase,mm.7, phraseseuch of two measures. The first {a Ukea sahjectsome- | In mA-and md the last half te silemtsthe half-rest takes Its thing to alk abouteth> secon! m3, 4,15 like a predicate, that | place. The resi is a signof ehythmicsllence.The playing will be ‘which we say about the subject. The third phease, mm.5,t,ie a- | better i the hands are exercised separately before plying together aL dest 5. No, the prineipsl motive is that ofthe First measure, This figure occurs unchanged twice,mm.t and Sit occurs changed twice inmm, ‘and 6.7The second phrase,mm.3, makes. incomplete predieateyin im. 7, the preieae is complete. The difference lies Iaarriving. a last atthe tonie or Key tone . M.A 4-60-80 selopment of fluency in the five-finger position. For this parpos ol several times; then two designs in succossion,ceveral times over. In shortymake exerciacs of i Je8t See caution in regard to M.ad=80. ‘This melody is constructed upon a systematic plan; see if you study it out. Try also to secure leexpretsion markedsie.sthe tome is supposed e Ret strangeras the angle widenn,and to Ret softer as the angle approaches x pot Mad 867 Hore we havo a threo-pulse measuro,otch pulse represented by a quarter notehalf note for to pulses, and dtied half forthe plas ‘Triple measute gives vine tovery pleasing rhythms which are more flosting and elastic than thore based upon 2or 4.19 the rhythm tang fesloaing dances af whichihe walle perhapethe greatest ferri MMe In Not® the motive consiste of two measures, a8 the aur will | ete) the lat tone of one m perceive when the tones are played. This figure oveurstwiceonly. | The Editor prefers a alight Nand toueh for the repeating’ ‘Mim.6 and are again siujgle motive or ies and the Meaisrepest | not insist upon a pure finger touch,which is very Aifieltin this ‘et degree lower in min.7,8,and again in mim.9.10.Themtheend- | place and would never be used by a good player. Ing or closing motive,mm. 11,12. In the second Figured. 8,8 3—— — —— | Se eee In No.t8 the melody ofthe right hand begins tobe different from that of the left,but as yet merely repeating the same tone. The repeat ‘tones are best played with avery slight hand motion, but the second tone mut be carefully connected tothe next ensuing. MAM, 4-60-80 = ‘The repeated tones are all played by a hand touch but the ingerlegato is prewerved between the last tone and the new one which follows ‘That ig,the three Cs in m1 are played with a hand movement But the lust is held legato to the D beginning m2. So also the Dina ted logato 10 ite aureegsor E,and s0 00, M.M.de60-80 Ifthe left hand part is begun withthe second measure nnd compared with that ofthe right,boginning is m.t,it will be seen that the lett hand plays precisely the shine melady,one measure lateruntil the close is arbitrarily reached In m8. GuRLITT ————— ‘The same prineple of constuction prevails n Not0.The right hand idea (mm. and 2) ix precisely repeated hy the left.one meanare Literand sb om al the way through fils manner of constructing a wecond voice ike the fiat sta later moment fe calle“imitation® Op "Emons Tmitationand i in canstant use inthe higher kids of mae condsees o Independence of hands wa, d=60-92 w 4 6-3”8 ln No.1? the right hand is active and plays the metedythe Jett hand merely pits in few tones for aecotupaniment These long tones shouldbe produced in such 8 way as to sing throng their requlred duration and not to be lost tothe ear just after they have heen sud ‘ot. The ear should wate this, mn No.t® the left hand has melody in an active way, while the right plays Jong tones, Phese should be made to sing as long as sequined, M.M.d=60-80_ gp Tn No.19 the activity f the hands interchanges, upon a principle of give and take? Whichever hand has the moving voiee should play a Iitele more forcibly. Mat de0-s0 1» pi 1 19. Is spon the chimes. The ones nwt be either brighs 19d 1 tnt pares be layed spain ssl ihe wont ‘The dos ere fa that of two bell-riggers who answer each oth ‘lteating like clear bells. The initials 20: at the end of the p (tinish). Bolow the Fingering of the fivectinger sete from C. MM d=00 ep In Nott the two ha aIn No.22 we active at*half-pulae motion”for the first time. ‘The easiest mnanner of forming an ides of this new effect will beto play the five-fingor seale up and back in half 0 ing two to exch; thon In quarter Hotes, counting one to finally in eighth notes just twiew as fastycounting the pulses at the sume rate as before. The halt pulse motion is light. and M.M.deso-92 A study in Clueney and the bndependgnce of the hands. agarose BB. 9 spry.‘The pighth note differs from the quarter In having what iW called a°flag” at the end of the stem: this flag may be ine pendent and far one note only, as we aee Very often in songs or Eeveral nates may be connected together by the'Tlagst as here Se The First Violet of Spring It was Plato,who many years ago remarked that when we had no words to music,it was very difficult to make out what Tt Tally metat: There are people today icho hold this opinion still, lthough to# musician the music tells it story ax directly and fs fully ax words ean. In this cage we have the melody while an MM, d= 80 24 ( Pupil ‘Vio.atsbue, fvoitsbegns, bring fies message ithde-Light, older player gives the accompaniment. The pricipal player or ‘another may sing the words also,and in this way Bring ont the idea in all ite perfection. The iden isto play the melody in such away as to'ulmost speak the words! as people. say, ‘The long tones in the right hand are to be sustained softly but with s somewhat full quality of tone. Moderato M.S.d=60-92w First Waltz A charming pises tor eehbition parpossn- the rapeted ates af tn meow sont ving ofthe mowoment, aftr Lenening it euros then change th. contig #97 aves the mental groupingupon whieh the proper iy hay dep ls arm mation, To got the propor elasticity Imansuesjorto our, Thia change SCHMOLL an. - + 2 —— “The tones im the firat mative of tha pices, mm. 15 ete.) ars alightly disconnaeted. A slight hand motion with avery elight ‘fin for wtaccata ill be suffiodent Allegretto ENGEL —— pee“ Mary and the Baby A domestic scony in which plossant things are said on both aides. ‘The heads carey ons kindof dialogue. The moving vale is to ‘ound ont distinetly, ei a SE A Study in Fluency A mls writen inthe shortest variety of measure wo.pulse measur. Ws count wo and accent upon“ons? When the accents fall xo near they are made less prominent; otherwite they break up the flow of the thought. The quarter note is the unit,and the lghtha are half pul cody by making it speak out like «righ the case where the two hands ancwer each ether respons tively sein mm.9to 4, In m.8 we have a ‘equal tow whole note, >—_ 1176-1[As this paint the F Cle ix introduced, as required for writing: burs voices. The staff with F Clef is employed whenever the left fal? of the keyboued isto be used. lt places Fe next below middle Cyon the Ath Lin, Teach the Clst line F, then the three Cs. Then exercise the pupil in calling the names ofthe note= af the seale here written. BASS CLEF a2 z 4 BE oe inethen ga on toplay the ‘Hotter bogin this exercise by playing the Left hand part from its oxn nates. After Finding ont which mote by incorrect timesrather slowly, as at exerci in retding the bass notes. Later both hands toeth softly but sustained; the sight hand tones distinct and expressive without being at all heavy, wom dist 34 Exercise for roving from the bass staff. Begin with the left hand alone, Then nd the right hand, Try und make the increase of tone indicated by the diverging linesyand the diminish of tone,siguitied by the converging lines, stat dato-np ‘To be rend nt sight, both hands together. aides0-q00 1176.1 Further exercises for independence of the hants. The lag tones shuld he sounded just enaugh more foeibly thaw the short tone to pro long them during their intended doration 40-100 38 ‘An exereiae looking towns velocity. 2 practical exercise Inthe te, he long tone (the half with an eighth note tied to it) should be hward singing quite through ts time In such away that the next tone grows out af the tied tone. Be quite sure to hold down the key is fall alve,and connect the next tovele- satolto the thd tare. Maids“ Five fngerseales in chung positions, The trick isto be ready fn the new position atthe moment when the ha shoul ini mela upon this position. Hence mave the hand a8 soon a8 I through with its od postion = = ‘In explaining the ba clef it willbe well forthe, teacher to desw a fll staff, treble ay bass and make the pupil see how they together form ‘single great staff of eleven lines with “middle C” n the mld The Charming Shepherdess A pleasing melody, in which many ted notes occur, with steady mation of quarter not inthe bass. Ohseeve that itis quite the sume whether the three-pulse tone’ here represented by a half note spliced ost with led quarter, Is written inthis way or simply asm dated balf, The the 1a here used to lead to are inthe reading. MoM d= 144 43 Fie age exrasech ne ob ped ry ine ui on ley nplib be care poerve the proper pose of the nth ings ered ech teal jane ot cles ng. wa Jto-44 7 wine15 Vesper Hymn ig monty shold he payed in a quet manna ond broagt outwith asnging tone the acompuniment subordinate ghonhowt m Neteihe extn andi fants WRise 26-03, pee eae Who'll Buy My Roses? jonsions and contractions of hand to gain new positions, front finger plays the #oeond tone (See mens 4eyete.) ‘This pisce is Little more dificult than the ones before, owing 10th where the melody leads. It will be observed that where a melody tono is repented, ‘All pianints made this change In rapid playing,because it maken the repetitions ‘Tempo di Valse Ma. J_72-02 Leonie Gaily the Troubadour Strikes His Guitar ‘he right hand must be rondy forthe otave extension in mt, |. beo measaron occurs inthe hy of Bat b) thie cractfese he gh O witha frm ana telling touch, and yet | Cursone dngreehighor tm tan ate) aseure Connect It withthe lower G-The natural ov ty m8 ie noi re- | nore lay 1a iitiie mors forcibly ach time. At tily necessary; but a aseful toa good player. AU alamelody of | Yet hand retard AAILO ma non troppo Ml ») 1176-816 March of the Little Sages Ajolly litte marek movement. Isto be played stardity, with strong acteatuation ofthe metudy. The lft hand part maybe treated ew stay In chord playing. lt maost not be played too hewily Melody “SHADES OF EVENING GATHER ROUND US” [A Noctuzne by Schumann, Arr fr this work. Inthis vent piece o evening maith ppl ha he melody to play which he holding tombe as mouth a a engl nose ‘The other player supplies the pleasing accompaninent,which adds so mich tothe effect of the whole Male d= 72 ow WEEP i _ a9 176-31a A Holiday Excursion 1m this pisor the same figure is many times repeated, and al- | the second finger the st again on the dotted half butthis is not ways with the same fingersva change being mate for the dotted | necessary. When it bygine to ply sasilyschange the count to half note which ends the mative. Logic wauld seem to require a | two (one heat ty veh measure) and work up to thexscond tem. Similar treatment of the left hand; playing the second G with | po. This Is the desired rhythm. tat. Ja100- 4.072 ee A Song of Contentment The malady voy angio aneansted-Te leh noon al~ | be hapulto practice th weno af Fan ean at clone of so quiet and oven. In the second line the loft hand has the mel | the baok) until its path is familiar and the Bflat can be re cay" which mnt ight prponderate oro he eighth mates of | membre whe de ‘the right hand. Preparatory tn undertaking this ploce 3 would Moderato MM. 2=72 at raging segs Mg ry 2 as tanto ve The Runaway A study in fast and even playing, Practice each figure until ft goes eusily. Halt the fest mensiroshalf the ad; the 5th mover anid ‘var; the 6th mths same, Pinalto play the whole without once tripping or stumbling- Tihs is what jx desire ead 60-9 so1 The Plaidy Triplets evwhichare most easy tatorch,plensing to prictice and uso ‘nay Mriplst forme of Plaidy. Penetice thom ia the manners following’ (1)-Always with ‘one hand alone. (2).Carry out each geen in turn, being very carol to effot a perfect legato between the close ofone triplet Among ths exer beginningof the next. (3). lve the left hand fx turn, lao and Ultimately it should be played quite fastvery clear and sure. Also with staccato quality touching the keys lightly and quickly with the finger-points Allegretto MM. 4.100 to 4.=63 Swinging and Singing ‘Ths repeated note in th lowing composition ean just as wal be played with the eam finger txingm hand motion. The xpeod in tather fost the vhythn ao if we counted in meusureet 12-2, unt fourooch monsnrs beings boat, 2— (ee 60-100 5B. uro.as ®A March of the Soldiers " the great master wrote [the pupil shoul sty both partsthe Primo and also the Secuno,the fatter beng particularly \ding exorcise from the base clot R, SCHUMANN seeful $e Study in Minor Mode Preparatory to this plaintive positions easier, The melody Andante M, a8.20 . poe Sing, Robin, Sing! Eroparatory te playing thi bright Ile song inthe Key o Bit willbe suf ito pay the salethen osu the lett hand pot lana tary thers ave but fo af them and the beat way to get a comprehensive Men ef them ito fle them os chord. fem. By 12.1815, Then til be eusy to carey the atsompeninest without sligting the melody Allegretto Md=80 SPAULDING a fob-in.sing a bong for loveyourmer -ry met - Jmorningswhen ite Jeatm and hit tle rob in leakeme ty your British Copyright secured CCopysight 1908 by Theo. Precser Waltz for Grand- Pa Intensity. This isnot the same thing as In No.5? the melody is In the bass, which must therefore have the true melodie qual ing it more. Every tone of the melody la meant like a word especial agceater valume oF force, but rather intensity, 2 the sense af Thercasthetccempaniment ls merely a passenger, feienda distant relative of the melody GURLITT pean Moderato 3-80-02 1788Minuet of the Graces ‘Phe flowing inet contain ing earefully,nl the Acctentals whieb Indicate Lemp Ulseonatly knwo and the Fingering haa been mastered, Study in Broken Chords ‘To be practiced in the following different ways:(alRight hand playing the chordsall the notes together the chords following, at the rate of one a second.(b) Right hand playing the broken chords as wettenbat not delaying for the ather handy Left hand ploy ~ ings chords (dl Left hand playing the braken chords,but notde- reat uch of musical Interest. In erder todo it welltake the movement at a moderate rates the ince= ‘modulation into related Keys, When the way in whieh not dificult ledy goes i= LOESCHHORN fect with this Inying between chordse! Both hands together playing the chords al together, six notes In one slid chord inesek meas; Final Iyyplay as written, The abject of thore different method of prac ~ tige sto give the hands 4 better facility in there form whichoroupy solargea place in all music inthe hey of Cae First Piece of the Star Performer In this walts thee hand is the star performer, having the melody, which must be mellow and poi sccompaniment light,and be very careful that the hard ie tuken up prompily from the last quaste the meneure. Owingto the preocenpation ofthe player with the left hau, there Is a tendency to leave the righ hand holding the Key after the ¢lme hus expired. Wve and not stiff, The GuRLtT Moderato M.M,d:=56- A Study in Syncopation the exact time values In this exercise isto count alx.‘Then Inter what we want is the feeling of eit when we count four. Each quarter in the right hub part Begin upon a helf bent and continues past the P cutting into the natural accent ofthe measure,ordisaeranging ita in th ce, where the right plays wilfully 1176-08A Study in Heavy Chords “ Not only the chords inthis piece are to he payed rather massively, but algo the running notes ofthe lft hand are to he made eather ponder ons. The chords are played with arm ‘auch; also the repeated quitters in tbe second period, i the base, The dot ead slur over che quarters Indicate thut the tones should be intividualized, made rather weighty Allegretto d= 104 ——. | _——____ An Ode to Harmony ~ uly voiced, s that al tapes ofthe chord are nearly equal in power, but the meledy tone slightly brought 10 aod must be made towing Play tha horde witharm touch ‘The chords in this pecs are te be ‘ut.In m8 be careful thatthe in Adagio 3.3 65 igs The Excursion. Avery platsng composition for exhibition purpooesTo his on it wil be noeeary to sty I very earful, mastering n patel al hove digreccons which t makes momentarily ot of th ley atin tm 4,%8~euch of which mat be lar oed perfectly. ‘Ailegra sot ¢=80-08 LORSCHHORNyy . The Fox and Geese (A Scale Study) Inasmuch asa the briliant running woek in piano music is founded upon scules or cords it Is necessary to devate a goud deal of time ‘mastering these kestoard tracks thoroughly. tthe same time this brilliant running work is a pleasure inate of itself, Wotee thease of hit toa several later sti Allegretto con moto Moacd (Peces: Study of Scales and Chords Intermingled ‘The rung work fre, eve and sure. The chord firm, musical tnd especially the lng tones well austnined. The chords marked with dots over ‘thom are simply individualized. Arm touch is affiient, finger elatic being danacesmry. The sopeato voice should slighty preponderat Allegretto 9.34. 4-72 108 76-3Joyous Pastimes ‘The running work light and pearly. The quarter notes of the melody flere the gecente tame properly resale it the next one, imine In a Hurry 0.20 may’ be taken as a study in even running notes or ws # study in speed. ‘The andl must be quiet, the tones connected, and the movement ot tun rapld The main dlfficulty is to extend the Fingers and begin the new measure without any peresplibleBrewk between tit gad the tive before —_ FN Study for Indepenient Fingers bt the “a fina form at applies the sume rine tthe a hile the other fingers muvee vrycatefa tt bes rps bette td this ine ably tfsthewrist toe ral an easy movement of the Lester pay both Hams taper The same fingers ob aj ———_~}- 170-426 A Lovely Floweret ‘A valuuble stay in reading the higher staff positions in the Left Inand. The movement goes on in half palnes, euch hand alternately ‘Take care thatthe second tone ofthe group of three which oocur 0 often in the right handbas the acegnt, ad not the frst tone of Grazioso 3. ‘the group. The words “dal eno" mean frm the sign’ a dnote that when you reach that point you go back to the sign and play ‘through from there, closing atthe word “Fine”, Ring Around a Rosy. A Play Time Avery plesing story in which the atrangest occurrences Ae meted nthe scalp on 2).To be ply Jllly and with pit ‘Allegretto W.3td-.78 + sot Khel wae te.a A Summer Holiday ‘The two chon inthe second ub fourth meres and elaere in tha sad, mst be 8 managed ct sue Flan tothe ryt Hen of ‘he right hal wil be beoght out. The fll phrase icles thre eat ofthe aecond mente the ight hand has “one the lef ad pute Tn “tua “three” Hence the ouch shold be rather ler anil. LOESCHHORN Allegro S.it.d=80-104 Riese £F oy z A Pleasant Story and the Pranks Afterwards Un the fiat two lies ofthis tle poem in tones. the narration is rather quis; jst atthe end, however, things quicken upd there Ie 8 very Lively time in the last Tne, which must alo be repented. The frat part it sentimental; the second part rollicking A.HERZ0G Allegro moderato 3.3 6 meat28 A Lively Dance ( For Two) ‘The prin prt in shi te wl reasire quite cova for theater. The sateen Allegro susto-a 8 ese practice betuce thew hands will ply these wee passages smoothly enoucth al fst haul not be heasy but Light ant tipping. Extension Exercises Un the ive fag forme hore fllowingthe bt extends between the fourth note anh ith and in thisway wien he es ane thon tas las between the measure. The eu lato uke the unning work Sey smeath;even thd ert wat de80- 1608 To be played quiet Ate sure hat the wighth notes have a sof, yet fall metic quality Andantino ¥. s Pegs ft eer 5 A Jolly Game spond. irk ont 1y postion that tronbles you and then got i ato fs placePic-Nic Dance Finger staceato ad legato contrasted. The bass with very light band touch sundae Ss 80. ‘Fine || Pe sure at the base mnclody sings, Five-Finger Forms in the G Position sat. da 88 -160 G ‘ 8. _ 4 Jiage cuavevae berth = The Song of the Silent Pulses ‘The reste in th Fist Iie mast be srapaleuty observed. Cae mut be akon thatthe ppl relics te ryan a ging on doring the rss, no lees than during the tones themssives la order to assist this feeling. afler the piece has been studied, require the eauming tote inthe lar or yum counting four, one to euch measure, Thus each line of the mie will consst of two of thse “collective” mansures. Allegretto Ma d=72-100 Loa wf.a A Slumber Song ful slamber soug,in which the Longer tones mat sng vt softly and fully, whi rhythm. Be sure and holdout the ied note in the left hand patty But itis not necessary to a succession of positions in the second lie wll requiee considerable practice independently ofthe right hand. Very sweetly, simply and the wighths ofthe accompaniment cerry: on the it.The diferent chords portions and the Arr. from SC UMANN Progress March In this pompous march it i necessary to havea firm and martial touch, as (Fone ware @ Tike quarters, while the sixteenth passes quickly wud Sghtly tate next tone, An excellent study i brilliant and effective playing. ‘Arr, from MEYERBEER Macsoto at dt ene abe 6-2a ES Te 2 _——~——— se MAJOR SCALES AND CHORDS. Gmajor oss, Dinajor, Cmajor, 2 Aiea? Hand: ourth Finger on seventh of the scale Ay Major or Minor. | 7Fr ands Fayeth fingeron secon of tie Seale E major, A 4B major. 7 0 oght ton Fourth finger on A€ 08 Bb hha Mack keyt wed Sajoror Arner, eH Men Foust fger on AB GED Dh majoras, ‘Abmajon RULW th: Seate FFmalor bats a 3 « eee ight Haat: Pourth finger Bo. AULE IU Seaton Ab, Bibby Mayve Ge Minor. 1777 nan Rourth Koger fourofshe calevexcept B which comes under Rule L Bh major, Fmajor, sy, Ebmajor, a) MINOR SCALES AND CHORDS. Eminor, Brinn... 4, Aminor, y. y. 2 Sas Bea oie ltiee, Féminor ay ayySUPPLEMENT TO STANDARD GRADED COURSE OF STUDIES, VOL. I, i Price 254 Tarantella. A study inclear and distinct playing, which is at the same time quick. Afl the right hand notes are melody, by reason of which care must be taken not to slight the last note of each group, nor to accent the first of each group too much and give the effect of two mefodic tonesin a measure. It will improve this to practice it staccato as well as legato. But in playing it the legato must be observed. Allegro.1.o.4.-100 Louis Brandt, 0p 25.NO 41. a saa School Room March. To be played in a strong, bright manner, the scales,so as to be clear and satisfactory, and in good rhythm, withoutdisturbing the march movement of the right hand part, Marcia. MM.d:100 ' bat fees . $ts Broken Chord Forms in C Major and A Minor. If the hand is fully grown,require it to remain quie\ during the entire group of seven notes; if small, a slight movement sideways must be allowed, the wrist mnoving so that the thumb extends about a seventh instead of a BiGclave. The wrist must not rise and fall, but move to the left and fo the right in the same horizontal plane. Be careful to raise the fifth finger high preparatory to making the touch when tt follows the feurthymeanwhite Esse care thal the legato is perfcclly preserved as indicated by the litte slurs contlecting the two notes. Play Slowis'at first, and alter doubling the speed, return again to the slow practice, but let itbe softly and with & fefledee singing tone and nt mere empty finger work wiscK. ateStudy of Continuous Runs. ii Observe the following cautions: Connect each scale with the next as indicated by the slurs; takethe chords rather firmly so that they will sound out the entire measure, for which purpose they should be held their full time, After this study can be played easily, it will be advisable to practice the runs with finger staccato, but with very quiet hand. Mr. Biehl also advises practicing in groups of four tones legato and four tones staccato in alternation, taking care that the difference between the legato and staccato is well marked, Moderato. M. 0-160 4D, BIRHL.Op.7. seer 4S sempre erate, * tiga t meat oo tees A Study of Runs and Chords,"Intermingled? The running work is to be very sprightly, in the left hand as well as in the right. The chords a little staccato and the upper tone broughtout in the right hand as melody. There is also a sort of melody at the top of the left hand chords, Moderato.M.M.0-¥0 .iv Easy Study in Velocity. Five- finger positions and the scale of C for both hands. Make an exefcise of each wo measures until it canbe played several times without mistakes; then combine four measures; then eight measures, continuing the practice until the part selected can be carried through several times without mistakes. Then the wholes Better learn it by heart, To improve the sparkle of the runs, practice it occasionally with staccato touches(fin- ger, the fingers moving very little.) The staccato is to be continued only so long as necessary for brightening the Sifectt Finally again legato, a8 marked, with staccato tones at the end of phrases before rests, aidegro moderato XM. 2-90 (@ ( Broken Chords, “Interlocking” In this study in broken chords, the two hands must co-operate in such a way that the broken chords sound exactly as if with one hand. The change of hands must not be perceptible to the ear, The first touch at the ‘ginning of each beat is a hand touch. To prepare the fingers to do this, play the chords with two hands, as if written to be played all together (two counts to each measure.) Having ascertained the position on the key-board, then break them as written, Staccato practice will be useful after a while to make the tones more even and clearer. wiser iy Moderato. M3 u Jennie’s First Rondo. A pleasant and cheerful rondo, not fast but very amiable and fine-tempered. AilegretoM Mo 198 We A, monanTStudy in Thirds for Hach Hand. ¥ Inthis study in thirds, the first point isto secure a precise action of the fingers, which should be raised high preparatory to making the touch, while the previous fingers are still firmly holding their key’, Later, when precision has been secured, try to make the upper tone a little louder than the lower, so that the ef- fect is more melodié. A singing tone is wanted and not a fast passage action, Rapidity will come much later. Allegra.Mae-120 : : ; an ee te is we 7 z z = — 7 == a ¥ The Kaleidoscope. A single melodic figure is taken as a text and turned over in one chord after another. To be played quickly, distinctly and cheerfully. Allegro moderato MAM # 132 WE Tes cs 7 7 7 7 z A Reminiscence of“Don Juan? A pleasant waltz, the principal idea of which is taken from the serenade which Don Juan sings in Mozart's opera of the same name. Moderato.M Mogae : 1 kNORR.Jacquelin Waltz. A study in light melodious and pleasant playing . The feft hand part to be crisp, somewhat staccato, and the right hand part melodious and smooth; the tempo tatker quick. The half notes in the treble must be taken a little more forcibly than the short notes, in order that the tone may hold out better. Moderato.31s. ¢-136 . KRUG. pee Sg ee The Chase. A study in imitation, in which the left hand is asked to repeat a given passage as fast and exactly as effectively as the right! Vivace.s.a. dee eee A Beginning of Velocity. fe runs to be fluent and uninterrupied, except at the rests or long nates. The runs also to be melodi~ ous, and not mere passage tones without character, Al legrosyae ts 1s FHMANT,Preparatory Study in Velocity. vil Observe the rhythm carefully. Do not play fast at first.” Neglect expression until the piece can be play- ed through al least theee times in succession without mistakes, Do not practice it loud, but mezzo,simply. Later you can work up the crescendos and diminuendos. peace Allegro moderato M3. #104 — bn ree but later quite fast A Study in quick changes of positions, to be carried out i Play the 16ths in measure, slightly marking the third and giving the measure accent in its proper plac In consequence of the rapidity with which this study is to be played, no changes in position of the wrists are tobe undertaken, Carry the hand in the usual five-tinger position. Neither is it necessary to make a pos~ itive staccato upon the last tone. The measure accent, together with the quick taking up of the hand wilt be staccato enough. F LECOUPERY. AlleggretioM.M.d.oa6 teen boot 16° pschereantoThis graceful litle study fy most excellent for practice in the weak portion of the hand, The melo- dy inthe frat part-must be kept distinct from the accompanying chert which ate tobe cxectted in a rather staccato manner, In the second part the order is reversed. The chotds are connected and the Tigh hand isthe subordinate part. The plece la capable of the cioaest study. Keep upthe practice Ut eave and equality are-abtained, and if possible commit to memory. AMleggtodiat en arn from HANDROOK, ws A Study in Chords. This study should be played in two ways, with arm and with wrist stroke. It may be varied by playing twe or three eighths, or four sixteenths to each quarter, staceato. Marberato MM. 4-038 foe, a, DorEeyer. 18(° nfeeleeee lene