r&* rO* * *V"

ft)*

PLEASE HANDLE

WITH CARE
University of

Connecticut Libra
fc fc*

Connecticut
L BR
I

#^ rfe rfc

A R IK S

GIFT

Bruce Bellingham
from the Collection of
Patti Bellingham

^153

llllllllllllllll

nmaa^a

GAYLORD RG

BOOK TWO

FUNDAMENTALS
of

PIANO TECHNIQUE

CONUS
NDO/?S

by LEON

^ lecOMMEHD**

ARRAU
.arioBRA

ECHANIZ

ADVANCED TECHNIQUE

town

H
ford

ise

BOOK TWO

0*

CASAI
ansa

CURZON

:'<*,

HOROWITZ

William

wgene

KAPELL

leo

DORFMANN
rudolph

"** FIRKUSI
fladimir

\>1

itolri

QANZ

ISTOMIN

MALCUZYNSKY

PODOLSKY

alexandarUNINSKY

7/2^

clayton

f.

summy

co

Digitized by the Internet Archive

in

2013

http://archive.org/details/fundamentalsofpiOOconu

FUNDAMENTALS OF PIANO
TECHNIQUE
535
BOOK TWO

ADVANCED TECHNIQUE
*

by

LEON CONUS*.Q

see page 44 for biographical sketch

FOREWORD
work

my

long life to advanced pupils and aspiring teachers.

The exercises here are the result of careful thought and experiment during the
many years which I have spent teaching. In order to facilitate study and systematize these contents, I have divided the exercises into seven categories, first acI

dedicate this

of

cording to their classification, and second according to technical difficulty:

EXERCISES FOR EXTENSIONS

Page

FIVE-FINGER EXERCISES

Page 11

THE PASSAGE OF THE THUMB

Page 17

EXERCISES FOR THE TRILL

Page 23

SCALES AND ARPEGGIOS

Page 27

EXERCISES FOR THE WRISTS

Page 33

EXERCISES IN DOUBLE-NOTES

Page 40

Thus, each of these series has a special aim or purpose:

The EXTENSION EXERCISES are designed

to facilitate stretches, loosen the hand, strengthen the fin-

gers and give them independence.

The FIVE-FINGER EXERCISES are designed

to de-

velop agility, strength and independence.

continued page 2
C. F.

S.

Co. 4327

Copyright 1953 by Clayton F. Summy Co.

International Copyright

Printed in U.

S.

A.

The

THUMB

must be specially trained, for

its

re-

sponsibility in piano playing is very great in so far

as skilf ulness in changing positions and maintaining
legato are concerned.

The TRILL

best exercise of all for equalizing

the fingers and for acquiring the "jeu perle".*
is the

The usefulness

of

SCALES AND ARPEGGIOS

is uni-

versally recognized, and their preponderant role in

most piano pieces is excellent proof of the wisdom
of working at them regularly.

Good DOUBLE-NOTES are among the most outstanding accomplishments of the virtuoso, and
steady practice of them is required.

An

agile,

opens

all

mobile and subtle WRIST is the key which

doors and helps to conquer technical dif-

ficulties.

Three basic human faculties must be employed and developed

if

one

is to attain

pro-

WILL POWER, MENTAL AND MUSCULAR COORDINATION, AND CONSCIOUSNESS IN THE FINGERS. I consider the possession of
ficiency of technique; they are

these three faculties as a necessary foundation for all successful technical study.
To obtain the best result in practicing exercises, one must vary the method of work.
This can be accomplished by the following:

1.

2.

3.

4.

exercises at different speeds and keys

Use different touches and nuances
Change all exercises by utilizing various rhythms
and by displacing the accent
invent different figures in addition to the ones

Play

all

illustrated
5.

To conclude,
possessed of

Memorize

all

exercises

should like to express

my

conviction that even the musical genius,

inspiration, intuition, and all the other gifts of nature, still can have
no real success unless at the same time he possesses a knowledge of how to work
and a love of the work itself. This also appears to be a devine gift. For without
this there would have been no great men - neither scholars, nor poets, nor painters, nor architects - and certainly no great composers or interpreters.
I

....

*Pearl-like playing

Leon Conus

SECTION
Example

EXTENSION

MpMp

For two fingers only, low wrist

3333
L

33

3333

one octave lower

-*

aaaai

-a
3
2

Other fingerings t

m m

etc.

1:

if^s:
Example

JLi^ri

Br

prrfrri rrrrrr

^
u

'Jr~Jl

ri JTT7T]
I

IX
^E

/ct
i

r'

P^g
liiiii

<^^^^

3-

j^

J3
^-etfc

m m a w m

II

Consider the size of your own hand in practicing this exercise; a large hand
may add one or more notes, and a small hand may diminish the extension.

2 2

L.H. one octave lower

Other fingerings f

C.F.

S.Co. 4326-41

Cojoy right 1968 Clayton F. Sumi// Co.

International Copyright

Printed

In

U.S.A.

444

Jr#

[3

a
sp B

iJA

-r^-JttJ

UJ.

5
5

With
-

*
5

IZ~~ofo

etc.

,y

S 5

III

flexible rolling wrist

44
^

et c.

Example

555

5555

3X

feE
*

z_

:z

^4

4521

The Left Hand two octaves lower

etc.

i
t.

^z~

21

ZZ1

ZZL

3E

-m-

etc.

ir
C.F.

S.

Co. 1326

r~

Example IV
Those persons who have small hands must be especially careful in practicing
extensions, and not sustain notes which make the stretch too difficult.

STEP

PRACTICE THESE SIX CHORDS

$
STEP

331

ALL KEYS

m^

ffl

-*&

IN

II

Play the following exercises slowly, emphasize the action of each finger,
keeping the wrist low; while holding the half-notes at the end of each measure,
control the flexibility of the wrist by moving it up and down.

PLAY THIS EXERCISE ON THE

13

53^4 *
4

Left

45 43

4 8 4

^WP
53
4

2 3

25

4 3

321

K 4

GIVEN CHORDS

SIX

4 8 2

2
1
^If
3 2

4
3

-e^e*

'&

Hand two octaves lower

12

Paster, lighter, exact raising of each finger, flexible wrist

3 4

12

5_

#
Left

Hand two octaves

0^

C.F.S.

Co.4:j-:)

-e-tCi-

On

all six

chords

-e4cr-

On

all six

chords

-etor

On

all

lower

1234

H^S

2
1

m^rm

six chords

6
Slower, after the stretch, the hand resumes its normal position

'

^m *

T,

Q^^
3

4 5

3 2

12

on

all six

-etr

on

all six

Tv

'

ci'Trn

xLJ'

[aj

<

With

F\%\

^fej

r^TU'LUlIrClg
5 3

a^

chords

12

chords

LriT'lf^

fe
S^
I
D

'

Legato with flexible rolling wrist

a
2 -^
i

efe7

'

-eh

42

4 2

^5
# k#

..A
&

i B*ii

-eter

rolling wrist ,pivoting on quarter note

Example

Legatissimo, slow and mezzo forte, holding all notes of each measure,
raising only one finger with a quiet movement, always controlling the
complete relaxation of the arm and wrist.
5

H^i'

Left

3 4

JiJi
* 4 3 Jijij
4 3 2

rrf

Br ,

e tr
i

*r> e to
i-

jUAJ^pf^igg

C P.S.Co. 4326

rwTO'OTrM^Ecff

Hand two octaves lower

<+

'

a.

tt
i

rF. i
r'

P-.

Mrj.

tt

ttftt f

FlHr,.pltr,4

lt

ITO Tr f^r i.j'Jnj

riprrrrniix
i

^jjL
l

<

OT

jrtJj
lt

Leggiero, fast, piano, without holding any notes

4

AE^SS z

g g g lj J7JP
4 T 4

DC &*

12

2l

5
*/.

L. H. two octaves lower

z =^fE p
12 8

/zz
.

te-5

<e
4

a -P

iJL_

12

iffi
2

iB

tt

iJ i

JTT3 ^

cto.

Example VI
Four times

Four times

Z
L.H. two octaves lower

4~

-6

t^^J^

Jr

^J

J -J

=d

^m

Slowly
1

3.

41

imfiMiii^^
5

WM^/hiL
g

*"
i

etc.

turn

14

L.H. always two octaves lower

Leggiero

Slow, legato

YPr PpF ^
i^-'

C.P.S.Co.

43*26

gjEZZg
i

rr

r^

#-s

*;

eTc?

Example VII
If the
5

extension
2

rt''

is

too difficult, hold only one finger

5

!f.-i:E

L.H. two octaves lower

2^

2
*

#*
2
4

2
4

/
r

2
5

34v

-*=*-

;r=*

lO
-*-

7"

igzgj

'

PI

pr

-*-

-T0
I

'^'HfNtlJ

Example VIM
Legato, wrist flexible, both voices legato

j^j^j

(o^^-r ^-f

r fr--f

rrjyn

fp-^_

Jq

w-t^-j^h
w^-f

r f

^HW

r^ r^r^i=r
-J^j^J^j^

f-iJ-M^r^
C. P.

S.Co. 1326

mf

7^~C

jrrpipTTTJ

^HW
f-r-M-Cr
UMm'-Mm'i^ V' lUfriirf^
J

ITE

-eth

Legato? after the stretch the hand resumes its normal position

legato

Example IX
First, practice the following group of three chords in chromatic sequence

m
ka.

''tJ

Legatissimo, slow, holding

\fi

p[ffgn.g P

y^-^ r i
J^

fMt^
#^=FP

-^

c.

f.s.Co.

s:

p-t^
-* hkn

4.i:r,

all

the notes of each measure

f-ff

=EJ-a^ p

P--P-

p p

^-s.1

f^"

TTF^Vl

^
rrtrr'fm
>f

> i^

k
r

,,

"

It*!,?!

l*K?I

m
f>^~

*ir

vW

ihre*

f_I.

p.

=(t3

?-

i"|
;;;.
L_J

ftp

r* r*

TT-

>

-In P

P-

-^gjrfrgi
A9

-mP

tit

"-""

y|#y

\-rUX^4\ J* Jlrp- p-p-J-1

-jT-^fl-^-^l-

-^p--

?^P:

*
If
Hi

f>'J

M CITt#*Jt

z^r ^
^p|
1

"
1

.
K

'3

HT

Ei 'i_

cE

10

5S

te*

IeI

m-sT

foET nt"

r?

^
^Pff

ft

i
J ^ iI CJ3T

no-

7T

M -

ZJE

^m^

^rT'T
V V V

,w

r'

,,

fefe

3ggJ^g1

Ei

k^hrjr

F^

Zs

p p p

etc

m 5r^=zft
-35# 4

i^pf,
<
''r''T ^
r''

*'T*ho-

|,

tnp

i.-^r**
"

J.;.;

l^T

5:

>

* v

f*

pp f f

> 1

'

js'is fe isi

Pff

5w3 1

M? 1 jtelfe is jjjjiig
i

WffTPPf
C.F. S.Co.

\'

v^ r f'x i

V-

-^

^s
^ ^^''TT MM fY''r'^^^^
V T 7? HPFFPH 7 FTP fTFp

-K

& & & ii>i b>,

ii ii Ji Ji> bhjl ^ 4U> ^.^^uua'v
HE P
3
$
1 j
j
s

v_

^ ^^^if'^i'r^-'^ifiCtM

ff

ffo'LC F..F-F.,*

*te=

#
m

CZ IZE

^s

F-^T
f

f?P

SECTION
Example

II

twice

i times

8" iJ

11

FIVE FINGER EXERCISES

holding

JiJ H

all notes

J ^^.^ J ^-i^^^^
J A^^U^
^^i^
iH
without sustaining
1,J

L.H. two octaves lower

twice

I,

i;

W p

1?

leg-giero

m
j

bJ

iig

tt

j
J

* g I

/ // H

different

3
;!r#

|.j

B
:

itJ

li

^J

ii

i i i

J
r

i.Ji

Hf

I*

#J7?

^i

**j
j
g=**

3h

rhythms

*
" ahW?*1
1 l rj^tt^lFj^tti^^i!^
S **"
i .Wtp-M d -M " i-J^

<

b^

^S

#H se

PPU

Use

y.

-J

IS

l^^
fp*

LaT^-J

IJ,

g^^^^p

t>J.^J-^J-JlJ/"-iJ.JM-^-JJ1l-J, J -^* gi^^3

fefe

^m

^
4

t>

J Jl J
l;

C.F.S.Co.4326

l;

J!> "

J 9^f9^j9$9^9

n~^jj2

i I

,j

ip^i

W^ ^J^-JJl-JlWi^

JJpl

^^

-*t<'-.-

12

k=fc=fe

X3E

*~P#
E
3 ^

L?

j jjjij

-I I

ii

ii

/>

^jgy r

B S

fe#

ten

|:

L.

^ W^

WW
5P

always two octaves lowers

^=^

bJ

l|J

p p p bJ

^
b

'

| I

rJ

J bJ 'J. bJ H J

wp

ten

ten

b)

l>J

ten

ten

iJ

bJ

" " |

"^^j.

j =f

bJ

* J

1>

a;

P P

j
b

c)

IFf

-tf

,r*
* n
j. w * *

C.P.S.Co. 1326

j ^j

ftj

J J

i|J

JJ

ii

b)

WW

j-^^J

>J

JjPr
ten

Brf^

|:

a)

few

^*

fli

XJJit^^ Jg^ J f5j

p> p^ p>

Tf

^s3

^^
M
* J

...

j.

*=*

J J

S^

J J J

mi
j

W^

^=W

ft' tt*

i J

J,

j=^^

"
j

1 1

^i

^=^

J J

WW
3:

13

c)

WW

^z

Example

J ' / /

^HP

' J

II
2

34

Bisyissi
2

* w *jm

M>

3^

4^4

2 5

3 4

gM

r
etc.

F m
4 3 5 2

Varying accents

CF.

S. Co.

1326

2zi

14

ffij^m

jlggl

L.H.

in

,.n

e .,.|

jf j] s\
r

contrary motion an octave lower

Example

III

i
i

j^ajfljrg

ti...;?^

i&

'^^

^-^

zs:

OC

nra

#-,

tTf

mH

C.

P.S.i

31

F JlJ

4hym-0^
ZM

#->-#

m*

0m +

#^-#-=

=-#-#-

15

Example IV
L egg iero, fast
323

a) 2

2 3 2

..a^
23
Sva.

a^ B Spi
W#

cuir,

fl%p

j /tf<#

^(7.9.50

S"d)

*L*

fg

ft

FfTf

FS
etc,

^SW^*
M
5

rtt rrfr

Other fingering o-j \

*

r r^r

asso.

Legato

tt

;ig

%tff?

rfff p rf

e#
&

234

JE^JE

F*P*

liitfVyfff
I
'

rrri

ffi^gffgfl
8^

w basso
C.F.S. Co.

4.1:26

gvm.

16

ij^gjgi'jj*^

ift

&

gra basso.

^^

is *

etc,

d*r- #

5__3
Other fingerings 4

3~

Example

V
twice

4 times

s
-fr-f^

):?]

"'

m as

3ZE

ir

9s-

P.S.Co.

'.

d.

Lr CJ

fT
t5H

=L-#

0-

BEUB BBUB

fr^

t~
C.

alt

#-=-#-=

u^cium

ffff

twice

ffiS
#^

-=-#-

CS^flC

-!-=

=-^-r

^ff^CT

$p
^

n^n

^
iwfiii

SECTION
Example
3

* JT3f2
|

=1

PASSAGE

of the

THUMB

i
2

ff P*

nn

22

First practice legatissimo, slow, holding three notes, then leggiero,

fast without holding

III

7TC

a
3

t=A

L.H. one octave lower

H*

*i *s

l^t

Other fingerings
2

13 13

J J J J J
'

in/ 121

'teak

4
1

t
-

5
.

*-

13

i&

95
i

CF.S.Co.432<5

1 I , , ,

t^~^j

lN

= =====F=^
p p F r

** r*
^r

p^-j

^ P^imf^i^^iiif^^'IW
i

P/W/ffl||B |
Also

groups

in

of six

oto.

r
r

and
In groups of

3454
21314131

Example

* m

oto.

3454
4131

2,11
1

31
d 1

In

p&fr^M

^ftt rff^ffl^r^Fr*^
2
3

#i^rrrrrrrfrrf^rfTT

eight

all

keys

-etoi

II

*
^S

w=w

* g * i
-#! 4

13

* y i

pq

5S

Holding notes
Holding 2nd fingers only

(5^-

=*
4

12 13
p=s

^=&
3:

'/

*/.

Holding 5th fingers only

^s

- J

f^JJJjJ^

V V'fdi
'

3
f

P.S.<

^^

JC?_JL#_H

.4326

#T

3a:

jEZZg

/.

19

^^

ppr 9Pi
3

13

lJtj.l>

U
*Wj

-3_

fc4zm:

*-frw

2^

s sBl

-t

frt*

=jhF== #--
'fli

g
j

lJ-1
Iggg

^
i8

gE i

UP
0^3

u>

^S

^'' *^#

j!L

ill

#=p=^

EEg

/.

"

14

al

"

'

^^
y.

/.

sty

J o. J

)H

i PI
J
f

I 'fp

li'Syii:

Efcf

i
4

MS
p^ K^i^

P^l
2

P i P

^=W i

*=*=

f
h!5F

^ij-J^ *^

f p | g

i rr

i-y-^jj^s

ft

y=f

I f
p

l=P

' im J j J J '

^F=VE
s

^^

-#

r
,

C. F. S. Co.

^=w
4326

'

i:

**=^

^=^

ICi!

*s=

pp

^^

*-#-

<>

-*-

y.

gg

'20

i^

"eft**

Example

it

0:

.F.S.Co.

5 P

.';

^=^
r

ip

14

^=^

14

3S

15

Hanon

4 3

f-H-l

III

12

<

tei

5Th-

After

^^

5e^

^W3

es^e

CT.,. ,pito

#
Z&

^^

*i^

21

5S
m 3S

'/.

t-k-^J^2E

R.H.

13

12

1343

L.H.

3BE

^Sl
f

2 3

/ /.

33

3PI

ff

W^

^3

Bff

5Z

-r

etc,

333:

y#

/.

HE

/. /.

Example IV
R.H.
4

jg

P
H

4l,

fapE

]*

/.

g1

up
2

14

/. /.

'

|
2

14

'

z /.

r / /

'/

/.

L.H. one octave lower

-/ /

l^Tn
4

F.S.Co. 4320

/. -/.

*/

3&

5
It

/. /.

Zf;i^r>

:z_

tat

12

I F* '/

'

12

^
J

C.

L.H.

12

etc.

L^fe=g

n*

oo

Example
S ra...
4

i
i

^BE
1

^^

W=5F

^=>E
4

12

w=w

i
2

JL

* w

vr

^W

S 1'*

**.

I?

0^

^=W

m-^

^=W

^3E

P# L- C

^n^

p =

Play the above exercise on the following six chords

[>g

R.H.
* v^>

L.H. J?

C.F.S.Co.

fee

V*

^gT7?v
ifl

ta
"

"s"

o11

"

^=p

-etd-

23

SECTION IV
5^

TRILL STUDIES

^^m ^^m

mmmmm

miffifiSEffl

* *4

12

^z

r-^

jg?!M

^g^g?
-r

^ jBySW&ffl
zp:
n

f^

35J5- g^

S3 9J*J*J*-JjLdMLm-
WBJffiB
p
T^rfi
f
:z:

4 3

F^i

SZ

w^t

s:

2 3

ffljfflj^i
^3E

fEZ*

ffifffi SB

^^

0~

Z3Z

2 3

SB

: ^

=F?R

3
/.

,j.
_ #

j.

VPV:

HOT -h-^h-rl
SI

F^

I
^

?
i

P9

"

j^EBSB

Bi

/.

7TTPr.

1'^

y.

n]^

pN

"*

*-
-

-^~ r~~*~* *
9-

*-

~*

0J

J
y
X.
T

^ 57 rr
*-- A A
m

:
!

->

F,

i .

y
X.

il^

J
.

r ,
r>

l-rrrrfrrrfrfrprfrfrfrrrrfi

^j^J

^~

wm

4*5- tJ

JL-

''rrrrrrrrrrrffrffiTrrjiSr
C.F. S.Co.4326

l^J
4

T!
J

HW^T
J

iirij
"

24
Different touches

J J J J J J J

ir=f

Example

mn

4 3

^p.ypf^g

3_
<*

ii-A.
*

Z#--# m
4

4 5

**

Z*=3

/to/pr-/

J p3*J533*

z MTnEy*

^'/^^ar*^*

AUll*
tt|Jfl3*J53*

feSllSiliJHl<ffl!

^fe

4 5

4 3

2 3

*~^*
+-m-*-*

II
2

5?

ft

iiii

Vt *'''"

[)>*[[[[*

&

/^

^fto^
45

#--*

mr^cccr^

m*^*

gggggg
Going down

^s

i jbtjjjjL
2

2 3

1i

JJJ J *^

4 5

BJyffl
23

JJJJ-/JTB-/

21

k
car^Bjr^ car* mt
#-^#

3fe

BS9

J*J *

aflH* rrrr^rrrr* JJUy.J^ y.

'* d * d

J^Ji

^J * J

'

JJJj juj.

'

fflf / &/

m
5

g
C.

P. -.

iS

ffi
J3jj*J333

rrrr*
Co.

i;:';

'

Bg

MB

Sfl*JI3] z

fflr^rr^ Egr*Blr*

C minor harmonic

flyja*

etc.

m rgtotf

ro^sz

i,

[flr*ffi

r*m ^

25
The same exercise

in

groups of 6 notes

I JflJJiJJjJJJJJJJ^JS
etc.

Example

III

W-*-*

#-J-#
i

3S
I
etc,

^ ijHTO-TO ^ M

^^

4 i *

After S.Rachmaninoff

Mi

ji^i

t
g

j i j <

,#, *,! *-,!

^L.
air
ah
in
I

jih
nj ~

hm
XE

jj

Ti

z igj

.e-

p
C. F. S.Co.4.J:ltt

21

'

95^

j j

*i

z
i

a<i

at
PHii

ia

5 g

mnlll
^i

ll

ll

ll

^=^ SiM

tt

-O-

fajfcjg s

'/

y.

'/

v.

y.

g
/

jtet
ir

io-

>

I*

/7]|i^^^ /ii|i^^^ / v^

^e

SttM

si

te

M s oti
--

fe

tty

i,

z z

/.

z y

y.

^^
a&

tt

/. y.

* y

'

26

fefii
a
IT

j J j J*'/'/

"'

<

9 y-'

i: t

Pz

Zi

+-*

/.-/.'/.

^ j

sra /,//

tt

^ Jl * *y

93

''!/.*

TV

3^

i iftw

g^B
3 /. ft f'fte
c ^ SflpjZJ y mI 5

^ftf^

^v^
z
***** rr^t 5^2 ^p^l 2 gppgggg
IP3
i.

1EE2

#^

pap z

i '//.*lfcf#

EftI

#t Zt3K

i^
*'

vt
<

i^:

^:

r>

l p I

py

vi in

fSWi

*>'

Xf

C.F. 8. Co. 13

!6

J J ///
ii

^^rf^ ^ii>ii/ii..
^s 19^jjjM*

&a ^

*
fe
a

l^&L
iP 3 P

.-

f f f

///

b& a *
ti

fc]

tf*

-x+ i

i
581*1
*

I*

ttriwrih
!J

Kill

MI
J

,tt

w#

Kill

^,^KT

llMI

p||

MTT JTT

If

gBS

>

^^

*2r

m- *t rvMv.i

-vj

Ati

^ SKS ^^
S6S
if*
jpg*
#==

* .*.*.*

>>-

. ...

Ct

iTOP*

p 4'ft p

m
i.i-

*9r

^ JM

Ba la

3JI

HtWl

I'll!

4EJ

--

i F

^3 i y.y.y.

g a*

-i
ITilfi

1'UI
1J

^^^ 5BE5B

iwimtM-A hp

i=^

>

/^

te-

rf ifjg>^?

^f;
&

eh*^** ^niani^>g

*T
H
o

4*

B3 ^ W'i>!^

f p

^X?f

SW^

k**^tf*

xy ^lifi

oTT

>t
t

^F'i

F^ f'i F '
l

-oj

27

V-

SECTION
a) Play in
fl

12
13

SCALES and ARPEGGIOS

different keys, retaining the fingering of the scale

3

1
1

? m,

^-^

L. H. one octave lower

ta

ffFf
r

Trrr

turn

12

##

/.

*^

3 2

-eter.

-ete^

T?p*if.mprr

yl^A

"
7

1-2
7

^s

gl

/./.^jfljff^l

f: "-

SE

^S
'/

/ Z

^ y

/.

ffM

/ / /^ p T
:

C.F. S.Co. 4326

r r r r

* *

/.

*=3

]jaijjni^]jj^
Jff [afflij

^nj]]j,n

flf^^lfljflB^lffl'Cttl

i rrr-r^-^j]

jflJffatfiJTJjjijja

j jj jj^ ^^

jflJfftfri

flnumflflmr

#jpg

m.

3B

i^

^= Tf r

r r r r

JUI n
i

-T TJ

r _T

mm

m
i

ff ff fr r

r r

,.u

The same

Example

&
tJ

twice

^=2
-9-

C.F. S.O,. 13 6

C min. harmonic

II

4 times

in

m^ijj^j'jj

^ s
>FW

-etc-.

29
4

mm
S

SB

1^
4

i^

'

;&
4

gt

1* *

jpp
ft

:;x

*
*:!*X**
is;

TT\
5 i 841

^S

ffl

M digj

* ~-*-

I 2 \\# ~

TO

s^ za

-*J=
;

v,

^
V
1

Play the next exercise on these six chords

i
Example

^^^r
p i^a

g a
Pp

|fr

in

#s

III

4 times

twice

S2I

twice

/ g

/.

^~y.

'/

L.H. two octaves lower

J.ji

k
J.

ZZ-

kJ,

#
C.F- S.Co.

4;i:2(j

rf>

^f

=13
^^S3E

_/t

1;

3d y*

^m
r
*

#-=

USM

m R5

i
t;

i*

^^

#-=

'

{>'

-rra
g

t>Q-

fc

t*

-ete-.

Example IV
Use these two chords

XT

in

sequence as a basis for the following exercises

F^

!-

I
^~

cto.

&

T*^

#-=-#
tJ

'

L.H. one octave lower

<9-

ET
C.F.S. Co.

J.;.',

ii

31

Wrist flexible

12

*4

rff*?
"3

-ete^

*=

B#

Fff^
54 14

^S in

1212121 212 ^4

S* a.
:-

21

Jb.

12

212121212

gNr^i3

145 4i

454i454

te

# d #

etc.

1-5

1-5

1-5

2 3 4

4 a

4 3

2U3-

ii.4

'

C.

4 3 2

F.S.Co.4326

12

Hi
m_ m

--

mmm

TT

^^

-et-e^

32
1

-0-

'ij
5 wa

H^Et
""ftjJ^EU

#>.

3Sffl

^'

SB

CL

i^ifi
cto.^^P

J-

:/r^

etc.

etc.

li

S-^

I p?Nmw
Example

CTf^Erf

Different rhythms

as

mm

-ete:

fP

etc.

Retain the fingering of the chord

2

isJ
2

^P
^ j^n

C. P. 8. Co.

43

56

|4

14

k 4

14

is

m
iv

LU
i?Lk

^p^

cJj- j-Jl

-9-

c^Lr

r r

lU

* _ *

1j r r

c-Lf "tr

JUlnn

rj3

r r

^
'lro
J '

i.

zac

-ete^

33

Play the preceding exercise on these six chords

Kg

SECTION VI
Example

^f^ *

sE

\>f

r^p"

WRIST EXERCISES

5
5

-0-

SES

pi
4

5
3

8 va.

8 V a.

f=TF?

PP

i=m

y \t
m\&

EEf

fcr

L.

H. one octave lower

8 va.

gva.

* 3j

3E

=^=r

J i

#w.

;t

*=^*
3
5

^Fi
3

m
gva.

gva.

i3E*3

1=*
j

ft

B=E3

eg

Play

Mb

3E?3E3
in different

iJ

3E

^^E^ij=^
b
5p
*#

ft

'

Fingering 4

5
3
|-j-j

keys
ova.

a=i=t
1

CF.

S.

izt

^=?
:.1

Co. 4326

=
7=

JL

Ii
a=S

?
7

^5
i=a2

E=
^

&
5

etc.
-.

Up and down

34
of

etc.

mzzzm

'

etc.

%
Example

II

5 5 5 5 5 5 5

Slow;

555

after the stretch the hand

ft

.:

9J

f
.

F. S.

Co.

normal position

^^^^ rTri^Ts?
,

JJ4

^^

its

two oct ave s lower

IUL.h ,i.h i A

iff^f^i

resumes

'.ah

i^^
4

h Jiiii,* i^f*A,

k
l

r>i\
1

2.

iS^
i

il, i
|

>,i). J)
i
XT

h.

-s

1
p^>_Mj{p'i,a

^-, n4
rW,
l^sh
1
I
1

35

,,^...,1
H>q> 7 BE j
ar m

^
i.

Faster, legato with up and

,i..^

*J>

^-..h

^r

gjM i>jj r^j'^M r: 'J

down

*+*

wrist motion
i

gg z JLTJ EJlEJlgBllg
j

^^f^^i^^^^^f^
"*-

I
3J

!Si
#

Ifet
Zl

l4f* I*

tS
5E
rf

ffe
dPe
i

LP-FCEJ EE-FC-E^
)|g

#
P

j0 tAl* ft w ti i

iifi^i

m m

r t

i r i r g

'y^r

t
j s

ai I

S.Co.

432(5

fife

g|

St

^^Jfffej^feg^

Pi

CF.

#.

ESFjJTfc

v.

te

#ir*

f>*3^

#-ft#
I

EKE
I

fep

>u

8s

i,

J-

*>

r*

36

Example IV
rrPP-i
HH i.ppff

^ r^ * J
J

n
/

J?

'.,

',

J. d

J.

II

-J- -J-

j * j j

|.jP]f

/
E

'

J J --

p-f * J

&fci-=irf-p-f

-,

zgBSg

'"''i^u^i^ "

rfrpp

'"

I.

"

_j.

]*"

i l

J. J.

J * J J.

n^te

fL

a"

i^jz

BR pf-fr p

'^

J J J

B-S

1
'

I
F

C. P. S.

j j j

fp

rj^

r r

-P-

P P f"f" P P

p^

j j

tib

'

j J

EJ

jffljp]r r
J.

J1

J?

ffl^

ffrffrmffrr^rm
i

ffPPftrr
pj^-^H'^ jJJ
aadfl

J J j

p-p

W
#-

-Ji

P-P

!mP

^#te
ffi

*fc

Co. 1326

flrr-ff?

ffPrf ffrri n

p Ht

ffflff rrffp.
; b

Jffi r f

-^ ^i-^^-^-l

'

JTTI^ r r r Jffl

I;

_. a--J-

fl

II

$%\

F"

..

J d J.J.

J. J.

f p p

-- f-f f
-=" --f" J J J J P *
J J *

,n

J J

3=f

J S J

1?

iW

ff ff |Hrr~wr p

i=is 9

i^JZ_^

BW^Pro^Wrrrp.

nVk
FPffrrl^
*

ii'i

m^

fflff r
l

ST

ft

Bff

37
Ht rrrCffrri
r ftftffi
-F#to L r KLLl.LL H rf-fj-pKp

iy

=i=5=

=*=BZ

flrrfrm
g-pJl
J-J-^g

Lit

-=i=

LB

Example

rtfttt

-S>

-a fP'T"rpp

ZS

r r

ffi_

.1

J J gj ^g-K-^J

(2

^^

ti:

ua P*
s va.

E=

aH*

L. H. one octave lower

JL

-#-

8 va.

ti

guar.

BE

^i'I

si
I 3^

=f

&*

**
S3

"1

fill

'tLFg #^

-H fl

gv*.

=fE?

t=^

r=F

e=r

#"<*

fcH

l=i
=*

#/..

i
s

i r?
C. F.

S.Co.

4:ll(i

e=

^^Ii

A iM

ttfl

sn
f

S ra.

fl

t
I

ft

n^ iiPiS

fliTt
i r
=^g=
i=T=^

Example VI
l>
J. J.!

#1
#fH

>

in

*#

*=
I

\,

:?L__r:

3EI

^jj
3

J.

C3

1 *=A

^=S

1>J

P ly 1r h*rmtiE i

te te

i*

53

b*=*

^ 7T1

I
*^l*

'
*

t#-.

13

in

=3

*pt
*
go

iEfi

te= i
I

fc

IZEI

va.
iti

5 1

RhF^
twice

13

p^

^^a

C.F.S. Co. 43

:<;

pk

is

*w

^m

efer

Continue in octaves

^^

m
^%
I

mj

*
*

H^i^P
*S*

-*

8 va

"*"

te te

*ftte

notes of Chromatic Scale

szja-ta

ZEZ3II

*
j.

it

r^vvl

twice

^*
ZE 3

etc.,from all

ff

*&#

:=*=?

DC

a=

p ^ --^

yfr^j:

J J. J J,^ * J.^H J.

ite

fc

~t+

j^j

is
9

i>

i)

Li

L
M

etc.

39

MAJOR

E
8

<g

r r_r

jT3 LIJ
8
simile

m cu^^^

rrr fLr-nn

lU

C-T-^

jnJ'J ] iuj
o 8 8 simile

j^pi

A MINOR

g iji
8 8 8

jn fl" 3

[r

EU n?

simile

F MAJOR

B
jp-m
eP

ft rr

^f3

rfrfrfri

8 8 8

simile

LL/"

e^

ji

D MINOR

PS

u 8 8 simile

-W

f^fffto
C.F.S. Co.

432(5

S^S
m

&s
pp

-e+err

1
40

SECTION
Example

VII -

DOUBLE NOTES

Legatissimo, slow, holding 4 notes

11

2
5

'4

L.H.two octaves lower

Leggiero faster without holding any notes
[4 2i 4 2 j>
1

Fast

ffflff^frn

etc

mmmni

m m in sn in in pi m

Legato between two voices

f-

-r

'-r

3E

mr lit cLr
J7]j gy

-Lejp

^ciJT

J * zzj

p->

Llr

m~

dlt

'

-etc^

il

F. S. Co.

43

'to

H. one octave lower

| v^B J33
56

etc.

-ete-.

II

:UUv
L.

0-T

Example

r^dJT^S

-ete-:

.x:

EJUJ^Lll

.:.

^-4^

fe-3-

-s

ii ii i

i>i

S
r g

,mj rnJ rnJ rn4

j .

B=B

r-^-r--

etc/

j-ij-,j

30:

eiih

/y

'

^V-M^' JR
i

wawi^iju

^i^ 5

:|

iiiQfl?

'-^y

pH

41

1 'iHit t i

i t

iii

* i

'"-j-s

^=^

^s

it

2^
g'^ifiiii " i^i

a==:

^3

1 nj.l>
Use

different

r'

^=^

Pi

5^ m
^

i i I * d

rhythms

jj^

7|g^g^
-ete^

WjgPP

13

ffp

te
pi
3

pP

Ji^gy M*l:

W^:*

ff fEjy

'

**

J
J

3 J

i i

1]J

ff

J [J J J
^E^E
1

J.

* J

TtTrtHlt-nn
,dj,i
t
\,i-'

'7

3d

.y

J J

-7

3^,'^jJ

JT3
t-JT3i.ni
.HU73>7

$f

C. P. S. Co.

5p
.1

3^!

S 3eS

-7/"L2J
4326

1|J

|>

-7

fi

m
s
Qj "^Z^WUr Lij^UJ
r

1*f

2.

tt

-et<^

U*^*

-ete^

III

Ff

11

^B

Example

iff

">

-7/ITr

?rT

l^v^^
f

?3'l

"

C-LJ

7 JJT3^ g
-

ij.
I

?/

If
?/"^
3py.
ot
f
-7

l*T

'?/> 9 f

42

Faster, legato

L, -^#

2Z3

(9ajl:

^1

J I

=
legato

m^3

?=

Ur

s^

s*

Slower, legato

nel^

Example IV
C MAJOR
3453 4
1

3,

f
4

sH

After N. Medtner

21

2
~

3_

43

35
e

*=*s f
3

L. H. one octave lower

i-jJJJJJJJ JJjjj

fel
g *%

as
ST"'

in*

i *

'

MODULATION INTO

"'I I

m MAJOR
3

'"

4
2

J
5

S.Cu.

:'-

2
4

''

^^ ^ *=*=#

J J

1
r*^

j ?T^
1

i 1 1
j

^?

2.

fff
4345
[2

m[

12

^
3

5
3

4
2

124

a <i
i*

t ljnfTTi
3
5

5
2
4

a
*

5**?*

^ ^ ***f **

?*

*?*

'J

^^WWt^**

1,

a
5

Dk MAJ.

3.

J
t

mi

II

%j

C MINOR HARMONIC

BE3

'

**=*

<

p^^S^^p
*#*

5
3

1
.

^1

3**

43
Ctt

*&$k

m^

MINOR HARMONIC

fi

it

*t*

'iHi

iti^i-*
MODULATION INTO D MAJOR

1 ^^

$?m

*** i*S^

i i

j44 ii9t

' 4
4 *

Example

,g

9 4
2
It

5*3
2

1-

rrr^-i

# -<9

"1-^=^

*r

_^=^-^

ti

etc.

44=

f
s fa'

C.

P.S.Co. 4326

2 4

r
1

>

4 8 5 2

ilU

Ui
!

*L

^H

44

During his long life, LEON

CONUS was regarded as
one of the best pedagogues
in Russia.

a musical

were Rachmaninoff, Scriabin,

He came from
French family,

who settled in Moscow,

where the author was born.
He received his earlier education from his father,
and later, the Moscow Imperial Conservatory, where
his associates as pupils
Medtner and Lhevinne. Upon graduating,

he devoted his time to teaching for several years at the Imperial Conservatory of Moscow, and later in Paris at the Ecole Normale de Musique.
In 1924 he helped found and establish the Russian Conservatory
in Paris where he became the vice president of the institution.
Leon
Conus moved to the United States in 1936. Here, he became Professor
of piano at the Cincinnati College of Music. He remained at this post
until his untimely death, January 18, 1944.

See your dealer

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