Professional Documents
Culture Documents
LI B FLA FLY
Vol. 136
BERTINI p
TWENTY-FIVE
fc
<
EASY
STUDIES
Op. 100
pr. 75c
^//V7/VV/VVrt\V/V'yVV/VV^7#VV#VV/*\Y#VV/VV*VV#*vV/\\V/V^^\7^\V5
HAROLD B. LEE LIBRARY
BRIGHAM YOUNG UNIVERSITY
PROVO, UTAH
f
T
Vol. 136.
H. BERTINI
Twenty-five
Easy Studies
FOR THE
PIANO
Without Octaves
%
Op. 100
Allegretto. (J = lie.)
/
/
Before playing this study and the subsequent ones with the shadings and in the movements indicated,playthem
slowly and always loud, giving a special prominence to the accented notes of the measure, and even, if need
be, to the unaccented ones.
This exercise should accordingly be practiced thus:
^m also thus.- v r
|| J-g
g
The comma(>), found in the 10th measure, and which will be found in other places in the course of these Stud-
ies, indicates a raising of the hand as much as is necessary for separating clearly one phrase from another,like
the sign by which teachers of singing point out when breath must be taken.
At first, the hands should be practiced separately, and a special study should be made of those measures, of
those passages, or details, which offer some difficulty, whether in the right or the left hand.
The use of the Metronome is strongly recommended.
These four observations are intended to apply throughout all these Studies.
PROVO, UTAH
8-
ten. 4
*
m l 3
^ -e- ^^ ^E^
XT
i
pp
^i
10482
r ^ * ~ :
IE
P^ fe^
i #
s
Fingering and Phrasing by Etude II.
G.BUONAMICI
^^ffl
J
Allegro moderato
jijan^
m t Jf
(J = 126)
^
1 4
1
CI
]Jjjj" == :
3 1
1 3 3
/5
m '*
3J
*
^ n
&>
rs:
^
&
piu lento
S^gg
z 3 i a i
^]/I J
-*
SSffil
2>
.3 1
a tempo
4
4 5
Etude IV.
Fingering, Phrasing, Annotations by
G.BUONAMICI
Movimento diValzer (J> = 168)
( Wa It z - movemen t
*
s #
-4
*k
#
s # =
7
*
? f
w/*0 tempo Fine.
f
** 5 T ^ y ^^ g -
r-r- -r-r 1
j
y
2 F
Notice here the fingering, which, though, at first, somewhat more difficult thau the ordinary fingering^ 3 *), e t
y
ensures a much more certain and correct execution.
^
4 3 8 4 3 4 3 4 3
n fe *--s
1 1
1=1
1
*^igi
1 1
^SB
* 2 J * 1
?
IIV
m s 2=
P
# ^ *
3 1
* 3
3
J J
1*. 2 3
I
cre.sc.
5
J g J
31 *
3
P
5
5 5
4 3 3
1 * 1
I &
* ;7-
+ I %
3:
*p S j J * * m
^
a
^
J
-6
V -6- #
-tk
=# ^ -<9-
<5>) 6
=0
-ts-
i9-
l
/!P #? sostenuto
S3 W ^ _o_
- i
5
t9- ^2:
r 53
I l a
3 S
a tempo
I
*
railen _ fan to.
-43-
#
-\
=8
r\
T5
3
5E=g s 54
1*
5
6
JF^ ^ ^
6
8
ta:
^ P P
n.
m V T7 rr.
5
XX
9-
-& %=& gEfe
1 i 51
5
5
3
3
8 3 3
*
I wu $ w * 77 tw ran;:
m 1%
*> i
f <tp
:
49-
1
5
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^r
^ 1
8
--
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ti
1
5
S
* -54-
%
p
S
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\d
p
(P m
34
v 6- 'yet
P? S TW
r
5 4 35
r
5
1
i
5
5, 4
i9 ^V
ei :5C
--
--
# 2=9 gEfe xe s
*I -9-
# Z2 txt
5 1 5 :i 51 1
5 3 4 43 5 4
^
/^
$
-4-
a^
2>
m ==
3
ff
V!
*;
i
77
ral
i
len
-*3-
. tan. do.
r^ ||9
C\
smorztndo
^s /T\
54
35
_Q_ -o-
--
U i
-cv
xt g= XE
Etude VI.
Fingering, Phrasing, Annotations by
G.BUONAMICI
Allegretto J
***** inM f te
g a
i 3E
Si
&-
s:
a j
q*
S i>
-^
r m
-0-
A
-4^-
#--#
m
s
i
#-*-# ^
A
i # * # -n #--# :^
'9
k
0-M-+
m s:
ten.
-4-
--
X
B
Z2
fen.
& 4=4 i
i fe
t '4
t
B
t ^
^
l <2
2
r/TST. .
T
T T T T T
T
M m es
f \*
m w m
5 4 5
lUt
l^gi i i
i
t ^
t
;j
r
h j i
&
ir
4
1
aru mtiJ
crc.sc.
j*-
_
fe
^
dimi .
i ^ *=
5 - a
4
V ^ 4^_
~ 4
4
4
gGT> f y;
I 2=d
ftfrr
nuen
3
_
i rrfrV^tf
</#
S ^m ggtfif tt
ffif^ ^
P |4
i *
f-T-^
^g i
S3S fe
% #
m 9- 9- U*
s <&
S *
_
*
**a
"tt
feg fe^ fe^ nuen
do
^^
ral -
!b ^4# 5
m i
J
m m m
LL J
^
4 4
1
&8.
i m * a 3
#
Z2
^-
-
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t
i
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A
gfg #-^i*
sI A
flfH IS
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s sT y T
fc. 4
i
I j - <5^ s ^
i
ff
tfg IT
ff
C
ijCCfr ^j
fe
rn?.r m i
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t y T
r
te V
t
^A
s
A
ere .
*
A
m +
seen
\
A
s </#
# >
^m
**-*
dimi
A
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A
l
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_ </<?.
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s & i A
I
fce =M
m "*~
^ m
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y i
p
m
^
i?
i ^ / -^ * ^ ^^ w.#:
W
W.^.
xs:
I =S2:
43
5
*
fc
3
^ i
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i
5
3
z=^
2 3
i s /?\
XT
=^
10*22
^ ^
Si
B?
i
9 i 3=
-O
2>
-g- u !ro
i>
~ r
12
Etude VIII.
Fingering, Phrasing-, Annotations by
G.BUONAMICI.
Allegretto. c&i = 8R.)
non leg'afo.
non legato.
3 /
t^
Pit * i
p p r r rr'T^vi
a i
or esc. _
j-^
-2_4
v 1 f"
1
f~ P
- p /
JT
!
1
* 5" 9
I S^ p*^ *#VJ
m* -
1 4 1
#
do.
^
p
J045J2
4 1 _
-4-
y^P
i
-4-
4 iX
/
S -4-1-
fe
w=+
4
S^S 4
The measures lacking slurs and dots above the notes are to be executed not exactly legato nor staccato, but
somewhat between the two, corresponding to the picchettato of the violinist, and expressed in the language of the pi-
anist by the term: non legato. See, with regard to this, also the annotation to Study N<? 44.
Copyright, 1XS4, by GSchirmer. Printed in the 17. S. A.
m
m #
-S-3-
4 5l
gg
s
3
****
^
TE
4 1
%
-
i
~3~ *=?
/
XT
4
^^
<Vtf
^ y=^
_ seen
f
^
...^ga^.
l
pawa...&fr
4 * m+
to /
=;
3X 331
fc 3X
S 3 P
'</* i
^* ^
dfrVft.
i ///
i
*i
PPff
^ /T\
^>
-* 3 * 5
l *
10422
14
Etude IX.
Fingering and Phrasing by
G. BUONAMICI
Allegro (J = ion)
u legatissimo
9+ 1
8
5
1 1 * 3 , 1" , * 1 1 * ml 1
2 * #: *u * it #
i
i *
4T
^ ^^ I
s fe^
*
cresc.
* 1 3
2 3 *
f
3 , 2
1
S 3 2
*:* ^8-
^ ;
i *
/
*
1
-3- m W=^ 1 3
3
j S
~ 5
cresc.
Si3
1 f ^5-
f
3 i
2-
P.
& * * dim.
P*
1
t t
*- i i, t "3" ^^
H 5
ff
-- *-p-
3 e i 3 a -i- a a 1> *
i 3 a *-+- J _^ -J 3 g
3=
,
1
dim
r kg -
r i
:
f *
_-_!: 3
1
%
4
f3
?
* f yj
4
,
t
3
^
J
V
1
^^m
4 4 4^ 4 3
^r tz^m
v r r
iresc.i'
PM
f-
m f-w
10122
16
Fingering: and Phrasing: by
G.BUONAMICI ,
Etude X.
Movimento di Valzer (J 18 'A)
(Wultz-niovemeut;
^g
a ^rrfc JrS r^
fc|
^ 3 M
leg'giero.
j ^ i
1-4 ^ i
P
>
fe
gEfgrfcrffft
r t i
'"
HP
F^=e
A
% ^
SI
Fine.
Sc
/
S 4 *
1
'1 i
PS?
s*s^
*
ISh #-F--* T
-#
IS s I
~ i r p
L^-
ffr f
1
f f ff
*U rL^ ^** I BE2i2
f
:
yry vn
9^
I E^ t
#
feE^
04-
2X
4
p m
(9
,*- "
^
L1
#4g** tesftg -f a F j ffffl ligg
Cpgrtrccr
4
>^ f i
jj E^JE r^ 1 1 P=&i ll t t
w*
i
aj
*
*^
grwW 'H^hy^P^t Hggfg
lffl mm tei
yryyy fefefe
a
ir ^ ^i ^ \i *
*
v
*ki 4* 1 s
n^t- Wm ~Xt
leg'atissimo il basso
rail.. i %
4
f^ f r f' rrr 1 '
1 ^ 4 '
3 -
-* 1 fl
* U^~
9Q.^~
LU'LU'Llj' 4 1
a * ^ STIQTB
4 1
~% l?rmS* fe: flY-w
^J
m 9 *- --
i
in tempo
4
r
4 1 ^^^1 -*8- \ rJiV kr \
*-+-
It will be well to practice both the fingerings indicated, and to transpose the Study F$
gerings. '
into ^ thu same fin-
keeping
p0m
5 4 *
i
xfi&fcA*. MM&&gm
mm &
15
s 1
* ^ & *
m
* ^
Etude XIV.
Fingering:, Phrasing, Annotations by
G.BUONAMICI.
Allegro. (a = 108.)
4
i ^ ^j lL LT
#
3 3 4 3 4 * 4
1 =z
if '
It will be very useful for the study of the Trill to practice this exercise thus also.-
$
I:
ten.
XE
ten.
TEi
* d
4 5 4
ten.
**#
^JT^
P /9I o o -*T ^1
S
1 1
^#
x*
ftv?.
-tv
* m
tfew.
Hj
* * *
f=f= H
3 XT ^ m m 1 -- -o# 3
^ 4~
* m
^ o^rrrrg 54
XV
iri
2 * * 1
XE
4
*
IE tW=^
I* X**
W* sino
! ^ xh
2
9
1
P
3
*
f
-0-
4
-e- EEB
i
2 1
XE
I
9
*
oaL^
=w=*
-o-
"
o^
= s-
s -/
4545
fe
P^ S * nl
54 -4-
xv yffff XE xv
Ia*
4 5 4 5 454 4545
* 1
agPI
fmfa*m
or IS ip
4 4
-0-m-0-m^0
o
1 f ?0
=p^ 4U5 4 5 -
( s -i o-
JDL
XE XE
ih
-#
^*^
W&
r*
o#
XE
* * *
otiiTTT
1
xv-
pnco___a_
d*
*i: XT
xv
^0^0
0* d +d
diminuen
XE
XE
a
CSa
4 a 4 s
S
5
k5 fi^
i m P Pf=fc ^5 1
P
1
W^
^
i?
2Z fc=l zz fe=i &
tm 2
w
St
,
p
k
^i g
p=0.
f
i
s fe=t u
ti:
i===53 it
$
S I ti
rwfy 5
rk 15
\r^fd feEgE2 P a P Ji P y J)p ?
* l
#
$ I P==P
^
? n J) J. J)y
V f
i
t S
I w
i ^^ 1
ff
^y y i } y y
U 533e|
y y j y y
P^P r-y- 3*
i
MP
1
4 3
5 4
*
*
2?
%
<?
Sa
legato.
7=
V
t
^=
P m S^5=^
fcfe
55=!r
1 8 =*5
m >>y
* % l^p y y
$ I
cs ^^
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t g r7J>J
i
J)
^
p
2
=t ^ ^ i
#*
ffft
P
/ fe
S
ere seen . . do.
f
11111=1111
IflLi
tiJb*y i==fe&
m ^m
=ft
a tempo.
C\ r\
*= i
P J>
P?>py s =t
t * I y r.
?
P * ),
* y P i)? p *-*-*
r\
/#fo. -^ r/- /<?# _ tan . - do
1=
=^ P^i>
ff
r
*
h? y
})
y ^ ^
y y h r-y-
^ i -r-r- :
ppi 1
$ yyt y9
:
+*-
I ^zm
4 w w
i
*
i"i7tffr^>
dim in .
^ B
^> ? />^? Mt\f&+\ f-m\n
g| f ^
P T< t
->
1> cresc
ra
g *; r> * r>
4
tt
*",
E ^
54 3 o 1
3 1 1
I cresc. _
4 ~ 3
1 V *
5
4
a 2
3 4
2 *
3 M 3a 5 54 54 40
p* 7
?* *&$$$$<$&
^ si
p*
**^-K
/'
'>* Jwi*.
f
? Jf
# FP^ & 7 J)
3
y
crescendo
i)
i 5
5 4 5 4 5 4
3 *!? ** 3a a??
Ma^g Sfi
.
t*-.
3 2i
-. m00
3 2 13 2 3
*
sis "tffpfep
cresc
Wffi E
///
*/
^ F^F
-(9- 1
F
a
tf
pe
fe f 2=
?7
i^S
*^fe#
^P 5=
54 4 3
= 2 3
13 2 a
?P
J
'?
(
u
feS -
^ yp^P'CMp cWpff*n
1 13 2 8
[TV < j m
Observe the change of fingers ou the same key. This change, unnecessary at the time when these studies were
written, has become indispensable through the modern construction of the pianoforte, the keys of which sink very
much lower than formerly, hence, might easily fail to repeat a sound struck by the same finger.
10422 Copyright. i8S4, bv G. Schirmer.
Printed in the tfr. S. A.
Etude XVIII.
Fingering Phrasing", Annotations by
-
G.BUONAMICI.
Allegretto. (= 88.)
4 3
%
# t^it
acecent will be slight, because we have the diminuenlo of a mezzo -forte. ^ _>"
5454J 5454
Andante = 96)
5 4 5-* simile
m ^
4 3
k
iff
fcz
# * *
* * 12
a^ ^ ^
1
s i7T3, 7J]
rr.
r
1
s
f
7T2JT72
5 4
173 1771
5 4
* i 3 ^.
5 4
iili
y v 1 ,i
^iFr^ ^ e5
trc i f
3:
3 w *
of 1*1* dim. crese.
m XL
r
5
\J
a J JJJ Ji
l o a
r
5
'
cmitf
4?a3*3*
ss 543*
<f"\
'
t v
/ a a a ~a^\
-f- r r
t aa m. m^
t :>!
i
aa
i
1 5 4 3 5 1 4 3 * 5
D. C. sin' a I Fine.
Here, too, though the fingering may seem somewhat complicated, it is, nevertheless, decidedly preferable to the re.
petition with the same finger, which always produces inexactness and uncertainty in the rhythm.
&
2
FRF? ^ WF*
Mk I
&=*=* *=** *tf=f
H
2>
ra *' M A
i #-r
i
5
^
5 simile. ^ 4 3
ft
IT 1
M
T 1 T
* E 4 *=^B I:
s
t Ip UWrl p f i r y
j \
v
E=P= iTT bi
w w
E^? it
Y/ basso leg-ato.
*/
4 - 4
T 3
1 t
8 r T 1 T 1 T
S=S ft.
i g
l
ft-^T
= 3
T"
ft
A # f-
,
cresc.
p S=fc
-*ft
a
4
1 1 2
k ft *-
I
P f I
^P /
DC
F
r
*
legato.
/^ 34
3- 54
-I
1-si-si P^ 1
f I *^ Pf 31
^^
mf
Fine.
^
m ^
T
l
T
_ft_
m fi :i\tii
ft"
v^ grig tre ^r
-*ft
A ; * a
^r
5 5 5
34
m
32 5 5 4 45
3, 2 12 2 2 I
1,
6 i
* II f f^*
T T 1 2^ I T r t r
^
t. ft.
ft
m &-1 : ft ft-
i ^^ tH
tw
v-
# #
trtr kT^ ur tr ^r ^r q^r
i
45 35
24
T
t=* i
I i
^ w^
2
/?\
^
12
rallentando. i>
f r 0\
-1
Y
*"
m ^ ^^ m
ft.
T
v r Trirf a^ ^=^1i=P
*
Allegretto.
2>
i
5
(J = 104.)
y y l) ^3 5 A
^ 5
P
,M
P
4
j
E
5
.
+*
T
?
4
2 y y^g
2=
P
S
-t 8-
^m 4
=31
^^ ^^ ^^ U
.'J
* J
^-r^
Ini }
y r
^T?
<
5 ^5
9 w
A
ere seen
P
^ ^ P
r
m A
5
=
A ^
5
--
* Jfe- **
5 5
T 5
5 T
P* ^ 1
^
i-
^ t#S
P^i SE
m h*V fey4
?
1 :
y y \)
y y f
F
.
T
ML
^fcft=
* S mf,sostenuto.
5*
i
A
r
c
M^#
*
$ feE
i I ^ 2=2:
I
*
10422
3
5
i
*
s ^ i =
Copyright 1892 by G.Schirmer.
30
Etude XXIII
Revised and fingered by
MAX VOGRICH.
Allegro moderate (J = 96.)
I *
p\
ffth"
'
^^ 2=^:
?_ff3j>
i
y
-
S i P
s ^S :^
5^*
4^^
^ e^t
fnm ^L
^L 5
1
#
&= m>>
3
^ *
it
5 ^^*
p
3Ei i
.
P ^m
2.
a
at
7m
i ^^^j> m$EE sip ^w^
s ^ s
^5
^ ^s s _
*(jj pr-';
#1 ^ ^^ -^" ^e i^
1
JKi)y
3 i i=^^
?
2i
i rfj pa
*
V
^^^
1 J
- o-
ii
^ i
V
w -*-#
i i ^
iS r-^
mm 5
3
P
=a
^m % 3=i
t T7TT
^
5T\
U 22D
^
<5^- 6k*-
I 17TT
4
4
pgo i TTTf-
^ 1 Z2TE
J
fet
^^
3
Efi
2 3z^ jilfe m ^
^r^ IP L
GO
t
1 1
+J
i
EE i
i fcfc
^ i ^
^*
==E^
3==:
M =L
m ^i
I
#So= M o- i
* ^31 b-
ft #-*
*> yjtfpT- ? ffii r-*-
i ^ -*-
3
3
19
m
IZZ :ZI
^^ i
& LA H B.C.
m 3
3
5
1-
3
-
4
4
I
-
s
1 4. *
10422 5 3 * o *
32
11
?
i i)
9 m^g ^
f J)
i
4
F
* 3
i<f l>
l f
f* iff
m-t
34
^
&
!t
h3^^
///
* i
*#/.
> *
43
g P 3^
4 4
# ="^# 3 5
^"M"^"^f
1
c scf cccrcgLr
<///ra.
t P t
I ?J)y st
=5
The transposition of this Study a half step lower (into 6% minor) will be of the greatest utility.
10428 Copyright, 18S4, by G.Schirmer.
33
8 n
1
*4 4 5 2 3 * 3
a
4
^
>3
4
a
3 4 5
////.
^^
4f-
-a-
"TT 4
5 5
i: 1
^ jtfim^rp 4 n
^ 4T
g
5
10*22
34
Etude XXV.
Fingering and Phrasing by
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SCHIRMER'S LIBRARY
gf MUSICAL CLASSICS
EXERCISES AND STUDIES FOR THE PIANO
VOL. NO. PRICK VOL. NO. PRICE VOL. NO. PRICE
HASERT, R. KULLAK, T. PACHER, J. A.
475 Op. 48. The School of Octave- 181 Op. 11. 6 Octave Exercises (Oes-
545/546 Op. 50. Modern School of Velocity. playing. Vol. I (Preliminary terle; 50
2 vols. Each 75 school) 1 00
476 The same. Vol. II (7 octave
studies) 1 00 PAGANINI, N.
HAYDN, J. 365 Op. 62, 81.
hood (Klauser)
Scenes from Child-
75
835 6 Grand Etudes. (See Liszt)
295/296 f20 Sonatas (Rlee-Lebert) 2 vols. 566/567 The same, in 2 vols. Each 50
Each 1 25 PISCHNA, J.
LE CARPENTIER, A. 792 60 Progressive Exercises (B. Wolf) | 50
HELLER, STEPHEN. 1133 A piano method for children 1 50
179/180 Op. 16. Art of Phrasing. 2 vols.
PISCHNA
Each 1 00 "The Little." (See B. Wolff) M
176 Op. 45. 25 Melodious Studies.
Complete 1 00 LE COUPPEY, F.
1117/19 The same. In 3 vols. Each 60 1174 Op. 5. Exercises in the form ot PLAIDY, L.
177 Op. 46. 30 Progressive Studies. studies 60
Complete 1 Of) 1173 Op. Studies in expression
6. 75 304 Technical Studies (Klauser). Com-
1120/22 The sam in 3 vols. Each 60 The Alphabet. plete. Flex, linen 25
430 Op. 17. 25 very easy
The
]
178 Op. 47. 2 Studies for Rhythm and studies (Scharfenberg) 75 1129 same. Pa_rt I (Sections 1-4) 50
Expression Complete 1 00 67 Op. 20. L'Agilit6. 25 progressive 1130 The same. Part II (Section 5) 50
1123/24 The same, in 2 vols. Each 60 studies for mechanism and ligt.t 1131 The same. Part III (Section 6) 50
550/551 Op. 78, 80. Promenades d'un touch 75 1132 The same. Part IV (Sections 7-10) 50
Solitaire. 2 vols. Each 75 68 Op. 25. La Difficulte. 15 stud'es
130 Op. 81. 24 Preludes 75 for independence of the lingers
600 Op. 82. Flower-, Fruit-, and (Vogrich) 1 00 RUBINSTEIN, A.
Thorn-pieces 1 00 69 Op. Preface a 1'Ecole de Velo-
26. 791 Op. 23. 6 Etudes (Galileo) 1 50
748 Op. 119. 32 Preludes (Oesterle) l n-> city de Czerny. 15 studies for
766 Op. 125. 24 Studies for Rhythm mechanism 1 00
and Expression (Scharfenber; > 1 25 70 The Virtuosity. 50 difficult exer- SCHMITT, A.
50 Selected Studies from Op. 45, cises (Parsons) 75
46,47 1 25 335 Op. 16. 61 Studies 1 25
336/338 The same, in 3 vols. Each 50
434 Preparatory Exercises (5-flnger
LEMOINE, H. exercises) 60
HERZ, H. 175 Op. 37. 50 Etudes enfantlnes
170 Scales and Exercises 75
(Scharfenberg) 75 1147 SCHOOL OF MELODY
Collecion de escaias y ejercJcios
1083
(Spanish edition) 75
LOESCHHORN, A.
PLAYING
(Oesterle). Vol. 1 I 00
491/493 Op. 52. 30 Melodious Studies.
K0HLER, l.
310/312
3 vols. Each
Op. 65. Studies for Development
60
SCHULZ, F. A.
317 Op. 50. First Studies (Klauser) 60 of Technic and Expression, Part 392 Scales and Chords In All the
543 Op. 60. 20 Studies in Continuous I (Beginners) 3 vols.
. Each 50 Major and Minor Keys 50
Scale and Chord Passages 75 966 The same, complete in 1 vol. 00
540 Op. 85. 12 Studies in Easy Passage- 313/315 Op. 66. Studies for Development
playing 1 00 of Technic and Expression, Part
II (Intermediate). 3 vols. Each 50
SCHWALM, R.
541/542 The same, in 2 vols. Each 60
796 Daily Exercises 1 00
746/747 Op. 128. New School of Velocity. 967 The same, complete In 1 vol. 00
2 vols. Each 75 731/733 Op. 67. Studies for Development
319 Op. Daily Repetitions
150. 60 of Technic, Part III (for more 1248 SIGHT-READING ALBUM.
318 Op. 12 Easiest Studies
151. 60 advanced pupils). 3 vols. Each 60
425 Op. 12 Easy Studies
157. 968 The same, complete in 1 vol. 1 00 16 favorite pieces of the 4th grade
(Klauser) 60 501/503 Op. 84. 60 Melodious Practice (Scharfenberg and Oesterle) 1 00
196 Op. 163. 16 Elementary Studies 60 Pieces for Beginners. 3 vols. Ench 60
480 Op. 190. The Very Easiest Studies 75 915 Op. Childhood's Hours
96, 100. 1 00
436 Op. 210. Children's Album 75 254 Pianoforte Technics. Daily Exer- SPANUTH, A.
490 Op. 218. 40 Children's Exercises cises 1 00 Preparatory Piano Technics
1041 l 50
and Melodies 60
406 Op. 232. The First Lessons
Finger Dexterity 60 LOW, J. STAMATY, C.
321 Op. 242. Short School of Velocity. Op. Octave Studies 75 Rhythmic Training for the
without Octaves 60 913 281. 1135 Op. 36.
768 Op. 243. The Children's Friend 1 00 Fingers 1 50
The same, in 2 vols. Each 60 1136 The same. (Spanish Edition) 1 50
t'WJ/770
tOp. 249. Practical Method. New MACFARREN, W. 858 Op. 37. Singing Touch and Tech-
nic. 25 easy piano studies
and enlarged edition (Schar- 1 00
1037 The comprehensive scale and
fenberg) Vol. I 50 arpeggio manual 1 50
tVol. II (Scharfenberg)
+Vol. Ill (Scharfenberg)
50
50
STREABBOG, L.
1186
tVol. IV (Oesterle)
Op. 256. 15 Short Studies on Runs
50 MOSCHELES, I. 478 Op. 63. 12 Very Easy and Melo-
dious Studies (Grade 1) 75
and Passages 60 903 Op. 70. 24 Characteristic Studies 479 Op. 64. 12 Easy and Melodious
935/936 Op. 300. Practical Method. 2 vols. (Pauer) 1 50 Studies (Grade 2) 75
Each 1 00 404/405 The same, in 2 vols. Each i 00
Sonatina- Album 50 tSelected Compositions (Scharfen-
51 1 182/183
berg). 2 vols. 1 50 1251 THIRTY LITTLE ETUDES.
Composed, compiled and edited
KRAUSE, A. MOSZKOWSKI, M. by Edmund Parlow 75
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197 003
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