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ELECTED CZERNY STUDIES

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MUS
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 Presser

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Selected Czerny studies Series for

Piano
]]

revised, edited and fingered

witii annotations

byEmilLieliiing

Book Three

Theodore Presser Company

Bryn Mawr, Pennsylvania

$3.95
 Presser

Achievement

\ Series for
^ Piano
3
5

Selected Czerny studies

^ ")

revised, edited and fingered

witli annotations ,.y

1'

Ml Three

Theodore Presser Company

Bryn Mawr, Pennsylvania

Copyright 1906 by Theodore Presser Company

/ (

SELECTED MUS
CZERNY STUDIES
Edited by Emil Liebling
BOOK III

Allegro risoluto m.m. J = 88

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Produce the very firmest stroke, while preservrng a actly together. As a preliminary exercise, alternate

perfect wrist staccato for the shorter chords. The

forearm may be brought into play for all chords
which extend to the octave. All marks of force and
shading
position to
to be strictly followed. Avoid the usual dis-
roll the chords, and strike both hands ex.
the chords as follows:

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Play all octaves exactly according to phrasing, either Observe fingering carefully. Note different values in
staccato, semi- staccato, legato or slurred, the latter Bass chords. Elastic wrist action is to be cultivated.
slightly slurred. Thumbs near the black keys.

Allegro moderate M. M. J=: lie

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This especially useful five finger study can be util- 10,No.2,inFmaior. The eighth notes in
measures 35.37and
39 are staccato, and those in measures 53-56 from
ized in Tnany ways. Firmness of touch and automatic e- played
venness of fing.^r stroke will be developed by slow, firm the wrist. Observe the slurred groups of legato quarter

legato practice; velocity can be aided by light legato notes in measures 54 and 56. The staccato will also be
finger work, and the material can also be adapted to the in order in the bass of measures 18, 20,22 and 24,spe-

staccato touch. I would suggest a combination of the ciallydifficult is the last group in the bass of the28th
three objects by using the first mode to the end of bar, also the first half of measures 57-60,
and the last
bars 45 and the bass note in measures
measure 32; then continue a faster legato with corres- half of 46; opening
pondingly lesser force to the end of the 60th bar, and 66-68 is to be sustained.
Accent the second half of bar 77, and follow with a
play the remainder with the wrist staccato. By thus con-
accent
necting definite objects with certain lines of muscular ac- strong accent at the beginning, and a secondary
at the middle of the following measures, so as to pre-
tivity tangible results can be obtained.
The last groups of measures 18, 20, 22,24, also 34,36, serve the rhythm; the concluding chords are to be
38 and 40 although seemingly easy, are notso, and will struck together precisely and the last measure should
need attention; the observance of just such details in- be extended about half its value.
sures artistic finish; a similar difficulty is presented in
the development of the finale in Beethoven's Sonata, opus

Allegro molto M.M.J = 80 -144 4^ l^

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Many hands are limited in stretch either for want of study will prove a distinct aid in accomplishing the ob-
of the
suppleness or from physical restrictions in shape of hand ject; it also serves admirably for ths development
or finper length. The problem of correcting these short- 4th and 5th fingers. The question of fatigue enters large-

comings is one of importance and its solution requires ly in its accomplishment, and occasional Intermissionsare
advisable. In measure 9 and similar pobitions, both fin-
judgment tact and patience, for many hands have been ru-
,

ined by illadvised excess of exercises, which overtaxed gerings should be practiced; the passing from c to a in
the muscles and resulted in disaster. the 14th bar involves a change which should be noticed,

By the use of gradual extensions, hands can increase and the same difficulty occurs in the 27th to 30th mea-
their grasp to a considerable extent, and the present sures. The entire study may be played piano.

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This admirable study serves as a splendid introduction ly from measure 7 to 8, or to place the thumb on F sharps in
2d one in C minor'/Clav-
to Bach's Preludes, especially the the 11th bar without a jerk, and yet such defects are usually
ichord"Book I. It presents a very difficult chapter of ad- passed over without comment. The hand should be slightly
vanced five-finperwork coupled with teniito notes of lonp raised after using the fourth finger in the 16 th and 17 th
values which have to be strictly held and pressed down iiispite measures, and the nonlegato quarterbeats in the 85 th, 27th
of occasional inconveniences. It is not easy to pass smooth- and 29th bars must not be played staccato.

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The idea of striking several notes simultaneously, chestral and impressive. Take care to play the four notes

but not holding them the same length of time is by no precisely together and hold the octaves firmly,
while the

means new. Weber uses it at the opening of his 'Con- fingers leave the intervening keys Observe the marks of
.

certstiick',' again in Gottschalk's Home Sweet

we find it expression closely and realize the sombre and marchlLke
Home',"'Il Trovatore"and in the Coda of his "Marche de significance of this exercise. The bass throughout stac-
Nuit." When carefully handled the effect is quite or - cato.
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The present Octave study is to be cultivated through- arm. Benefit will also be derived from the following version.
out with a light wrist staccato. A moderate tempo at

first which can be quicitened gradually to greater

speed, always guarding most zealously against any
stiffness, rigidity or muscular contraction of the fore- Use the 4th finger on the black keys, if convenient.

A119 leggieramente M.M.J=i-20

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 The present exercise deals exclusively with a Von Buelow advises to the contrary in his cditionof the
smooth legato arpeggio. In slow tempo the turning of Cramer Etudes, but only succeeds in producing an un-
wrist and arm is permissible and advisable, so as to in- musical effect, besides causing a needless increase of dif
sure the perfect passage of the thumb; this will facili- ficulty.
tate the clever and quick substitution and change of po-

^
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The accompanying chords must be broken very quickly,
and in such a manner as to bring the last noteof the ac- Begin the study thus: and play the remain-

companiment with the first note of the other part,andnot

the first. der accordingly. Where the accompaniment is in quarter
and half notes observe their full value.
Measures 65 and 66 are especially difficult.

Allegro vivace m.m. J=72-i20

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Avoid all contraction of wrist or arm. It is not always measures 21 and 'i'i 'lie continued 5th finger is pre-
feasible to use the 4th finger on the black keys; in ferable.

Molto allegro m.m. J^iae i 4

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The present study is of unusual scope and includes
many important varieties of piano technique: scales,
five finger work and broken chords. The 'VV" perfe"
which distinguishes the admirable work of leading
french pianists can here be cultivated and assiduous
practice will develop that light and even velocity, full
of scintillating brilliancy and effect, which delights
audiences; th? tempo should of course be of gradual
increass until rapid execution is secured.
Molto vivace m.m. Aioo-i38
Cz.Bk.m
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Observe the fingering of the bass carefully; whenever
we can use one hand position for two successive chords
it is advantageous to do so, as in passing from the 1st
to the 2d measure, etc. Beginning with the 37th bar
the left hand requires special attention, extending to
measure 33. In measures 43-46 the 3d finger of the
right hand will have to be promptly withdrawn in or-
der to admit the thumb to the same key. Position of
hand perfectly quiet throughout.
14 13
 29

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 31

The present study is of especial significance as it af- The hand should be turned slightly in the direction of
fords a practical realization of a problem, which is of in- the highest note of each group Slur the eighth notes
.

frequent occurrence All five fingers of each hand are

.
staccato, but give the half notes their full value. Exe-
utilized in a light continuous arpeggio-, this involves a cute the concluding three chords successively from the

light gliding motion toward the little finger of the right , lowest note upward and count the 4th, 8tli, 10th, and liJth
and the thumb of the left hand. For preliminary prac - bars in correct time. Slow tempo will be sufficient as
tice use the following version, and after it is mastered many of the positions are somewhat awkward to stretch

accelerate the time of the 33d to corresponding grace- and execute. Use the Pedal as indicated.
notes.
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Andante moderate m.m. J=5o

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This difficult etude for the left hand requires energy and their weaknesses are readily exposed. Slowand firm
and force. It consists of many varieties of pianistic execu- legato practice must form the basis,and velocity can devel-
tion and demands a great deal of study. Chord work forms op later. The descending A minor Scale beginning in the
no inconsiderable part of the composition and needs spe- 38th measure is not fingered according to usual rule, but
cial attention. All five fingers find constant employment the change is here advisable.

Moderate m.m. A 108

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 33

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 ^^6 35

This melodious study is intended to facilitatea smootJi light continuous finger activity in extended positions. Eaeli
execution of passages which are executed by both hands hand must enter and finish precisely at its allotted time and
I would recommend the following preliminary exercise:
consecutively. Bach's Chromatic Fantasie abounds in this
sort of work; Mendelssohn's fine Prelude opus 35, No.l is
developed on the same lines and many modern composers,
(
Kaff, Lack and others) have made extensive use of this etc.
specific piano effect. Clearness and evenness in broken
chords are also requisites of the exercise. It is interesting
to note the ease with which Czcrny commands musical form;
after the first and principal theme a secondary melody is The phrasing of the second episode in E flat (measure 24 )

presented, commencing with measure 24. The 43 nd bar is tobe carefully followed and the alternate detached stacca.
brings the return of the first theme, and a Coda (57thbar) to notes must be executed with elasticity. The change from the
finishes the entire composition wJiich possesses consider- dominant 7th chord arpeggio into the scale! measure 40 is not
)

able melodic charm, and depends for its proper effect upon easy.Observe the thumb accents commencingwith measure 50,
and play tlie entire Coda piano and gracefully.
4 a

Allegretto m.m.A:126

Cz.Bk. Ill
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Considerable elementary wrist work should precede attack ing octaves is ahvays upiiards,so as to insure
the present study in octaves which is intended for the
,
a downward stroke for the proper production of octave

acquisition of a light and rapid octave technique. Keep technique. The problems of fatigue speed, force and
,

the hand well up over the keyboard; the proper po- endurance must be intelligently and separately treat-
sition for the thumb on the white keys is In close ed, and every extreme and overexertion is to be avoid-

proximity to the black keys; then turn the hand ed as it involves considerable risk The fourth finger
.

very slightly towards the direction in which the on the black keys is preferable, but to some extent
hand going; the fingers remain passive and all
is optional, whenever limitations of the hand forbid
activity is concentrated in tiie wrist, while treating itsgeneral use attentive
; observance of the rests
the hand itself as a unit. The initial movement before will facilitate the rendition of this study.

Allegro vivo. m.m.J =io4

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 41
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Double thirds require special preparatory study, and
I would recommend the ordinary forms of elementary
and simple exercises as well as the major and minor
scales as introductory to the present exercise; it will
be sufficient to cultivate the harmonic minor scales
the right hand, and vice versa, the descending scale for
the left, the middle finger must be trained to pass
over the little finger without a perceptible break, and
it is correspondingly easier to reverse the movement and
pass the fingers over the thumbs in the opposite direction.

in thirds -the melodic form may be omitted. The The two component keys must be struck precisely to-
gether, and the mastery of the study will mark an
chromatic scale should be practiced in minorand major im-
thirds and it goes without saying that both hands re- portant development in the technical work of the stu-
In the ascending scales for dent. Observe a strict legato throughout.
quire equal development.
Allegro molto. M.M. J=72
- 130
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4 4

The present study combines scales and arpeggios. A smoothly accomplished. Some of them are found in the treble
variety of study is advisable. Practice slowly, le gato and
,
of the 55th, 57th ,70th and 71st bars. In measure 4 read
firmly to the repeat; follow this with light and fast velocity first bass note correctly -F sharp- it is usually mis-
work to the end of the 61st bar, and play the remainder with taken for D. Phrase and finger the bass as indicated;
wrist staccato; this mode of practice eliminates monotony, in measures 17,20 and 21, spread the thumb over two
and encourages mental activity. The many contractions and adjoining bass notes and substitute the little finger
expansions of the right hand have to be carefully noted and for the thumb quickly in the B4th and 28th bars.

Allegro molto. m.m.J= 126

Cz, Bk. Ill

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This scale study which presents many combinations, can
, stopping and both voices must be kept exactly
be practised in separate liancts,also in groups of 3, 4 togetlier. Lift the fingers of the right hand
and 8 measures. A variety of Tempi and different promptlj- in the ascending scale, measures 57 and
touches can be recommended. Great care should be 58, so as to permit the left hand to do its work
exercised to play the whole study without stumble or properly .

Allegro molto. m.m.J = 60-120*

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long been which distinguishes many of his greater masterworks.

By some singular mistake Czerny's works have virility
associated with elementary work onfy. Nothing could be more The present study trains the hands to expand and contract
in rapid succession and involves the accurate handling of
absurd, for in many studies the composer deals with prob -
different and difficult chord positions; it requires un-
lems of most advanced and complicated requirements in true many
flagging strength and brilliancy
from beginning to end.
virtuoso style. The same error is made regarding Chopin ,

who should be duly credited with the grandeur and colossal Use the Pedal with each change of harmony .

Molto allegro m.m. J=80-i26

Fed. simile

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This study makes great demands on the execution and or tempo must be carefully avoided. The best results can
endurance of the left hand and also introduces valuable only be gained by a gradual increase of speed and
cliord work for the right hand. It can be advanta- strength beginning always with moderation.
A
very
geously divided for practice purposes, according to its supple wrist is necessary and the constant expansions
numerical form as follows: I, measures 1-16; II, measures and contractions of the hand must be managed smoothly.
17- 39; III, measures 40-60. A rest will be found advisa- The little finger is apt to strike without clearness
ble after each period of practice, as all excess of force and force, and will need especial attention.

Allegro molto. M.M. J =80 - 126

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This important left hand study introduces many tech- will be observed for an extended period before attempt-

nical varieties-, scales, arpeggios, broken octaves and ex- ing the Allegro time and light velocity should be the aim
tended positions, and is a fine preparatory exercise for of the student in executing this Etude. In this connect-

works of larger import like Chopin's Etude, Op. 10,No.l3. ion I would recommend for specific left hand work the
In the scale passages the difficulty of passing the thumb same mast ers"School for the Left Hand"and Kroeger's
smoothly has to be overcome; the arpeggios require Fifteen Etudes for the Left Hand. Henselt's Etude ,

similar care, and the octave work must never be permit- Opus 2, No. 1, in D minor exploits the left hand in an in-

ted to stiffen the wrist or arm muscles. Moderate tempo teresting way in extended positions.

Allegro piacevole M.ai^

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 yJtJj 63

A light wrist staccato should be cultivated

and devel- the wrist. Advanced students may also consult Schloe-

oped throughout this entire study, which forms an excel - zer's Etude, opus 1, No. 1, and Schytte's Staccato Etude,
lent preparation for Scharwenka's and Rubinstein's Stac- opus 57. Begin with a moderate tempo and advance grad-
ually to greater speed. Strict observance
cato Etudes',' Godard's"En Route." Mendelssohn's"Scherzo,' of tlie finger-

opus 16, No. 3, and all selections requiring suppleness of ing in measure 18 will insure clear execution.

Allegro M.M.J = i86

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Cz.Bk. Ill
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The explanationsto former wrist studies apply to perfectly convenient without undue stretching, otherwise
this important octave exercise in which a light and
,
the 5th. Practice also in broken octaves ,

flexihle wrist motion is most essential, as it is intend-

ed be staccato thoughout, including the accompany-
to
thus -.
etc.
ing ihords.Use the 4th finger on black keys only if ,

Presto molto vivace M. M.J. = 132

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This Etude though devoted to light octavetechnic ex-
ceeds the limitations of a mere study and expands into
a very musical composition, which might be termed an
Impromptu The short detached octaves are playedwith
.
an upward movement, followed by a downward stroke for
the following long beats. Very often the use of the 4 th
finger is advisable on the black keys: the thumb posi-
tion always adjoining the edge of the black keys and
not near the edge of the white keys. This rule does a-
way with a great deal of unnecessary motion which in-
Allegro scherzando m.m.#^ii6
J'J^T-j i^T^J
Cz.Bk. ni
terferes with clear and effective octave work .
Finger
the bass as indicated __the little finger for single bass
notes, and the following chords usually with the other
fingers of the left hand. This will apply to the fingering
of all similar positions. The Pedal may be usedthrou^-
out the study with each harmonic change. Treat the sec-
ond theme beginning with the 33d measure more de-
,
liberately and bring out the melody notes with gentle
pressure. The entire Coda from the 119th measure fas-
ter; the last 16 bars very delicately.
4 A .f^i
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72

This study is very valuable for the acqusition of a firm eighth notes in the Bass as against the quarter beats and
touch. The double thirds and all similiar intervals must be play the latter lef;ato.'V\\% arpeggios in the bass, measures
struck precisely together, in order to conform with the object 37, 38,43 etc. are to be executed swiftly and lightly.
of this exercise. The Broken Octaves in the treble commencing with meas-
i t fi, fi
ure 39 require great facility, take care to play the second
Avoid this effect: ' ' V
and emphasize the first note of each group with the corresponding chord",the Coda
Arm and wrist
of the two thirty-seconds throughout gently. commencing at the 65th bar can be executed grazioso, but
must remain quite supple and rela.xed. Uniform fingering is the study ends forte and with decision.
desirable, still there are occasional exceptions, as in bars2,4,
etc. The Bass should be studied separately and the fingering
of the chords closely observed. Note the difference between tlie

Allegretto m.m.J = 84

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76 /? ^to

The problem of endurance in continuous wrist work is par- ively,and the octaves on black keys must be fingered ac-
amoimt in this important study. Ascertain tlie degree of cording to directions. Observe tlu; dynamics attentiveiy.al-
force and speed which is within your present grasp and so slurs and st-iccato marks All chords are to be held
mal<e that the starting point increasing both gradually un- down during their value; the whole e.vrijjs must be per-
til the entire study can be performed without serious in- formed with energy, hut every extreme of velocity or
convenience with brilliancy. All sixteenth notes are to be strength is to be avoided until the executant is ready for
executed with a perfect finger or wrist movement respect- it. The skips
in the bass of measures 14,15, 29 and 30 need
special attention.

AJlegro maestoso, ma con fuoco.M.M.J: 104

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80

PRELUDE
Czerny exhibits his astounding versatility frequent-
ly in his collections of studies. The splendidid fugue in
his school for the Left Hand testifies to his vast learn-
ing and contrapuntal mastery, and the present Pre-
lude which bears the imprint of organ music, shows
the master in a somber and dignified mood. The ped-
al cannot be used in this study, and the fingers will
have to be trained so as to realize the strictest legato,
in fact they should remain on the keys constantly
Many positions are seemingly awkward, but correct
fingering will enable the student to hold all longer
and tied notes their full value.
Execute the trills as follows:

In measure 3

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82
Marche Punebre
This impressive Funeral March may have inspired the lowing eighth note smoothly by a gliding motion, and ob-
form of Chopin's famous strain. It opens and closes witha serve all marks of phrasing and expression minutely.
somber and pompous movement, relieved by a contrast - The short detached chords are played from the wrist, those
ing melodious middle portion. Notice the closing major of longer duration from the forearm,with decision. The
chord, though the march opens in E minor. The strictest correct use of the Pedal will add materially to the effect
time is essential; the groups of 64th notes must enterpre- of this impressive piece, and the bass of the middle part

cisely after the corresponding rest .The introduction of offers special study for the left hand. The abbreviated six-
MendelssohnV, Caprice ,
Opus 33, No. 3 presents sim- tyfourths in measures 48-50 may be played pianissimo
ilar difficulties . Connect the last sixtyfourth with the fol- as quickly as possible, approximating a tremolo.

Andante maestoso m.m.J=44

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85
 86

Tills is another exploitation of an unusual technical
combination. The two lowest bass notes of the long-
spreads are uniformly executed throughout as pre-
sented at the beginning-, before the remainder of the
chord is struck simultaneously with the treble part.
The few staccato octave passages from the wrist;
the chords firmly and xs legato as possible. Use the
pedal directly itf/er each chord and not with it. By so
doing each hirmony will be preserved in its purity
without interference from the preceding or following
chord.

Maestoso m.m.J=88
8

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863045
 No. 1 YOU CAN SIGHT READ— Lorina Havill

PRESSER the pleasures of piano sight reading through keyboard

harmony and technique
—
Book One thorough drill in keyboard patterns, with
many examples specially written and from the literature
ACHIEVEMENT. for reading in two voices.

No. 2 YOU CAN SIGHT READ

—
Book Two continuation of Book One, with drill in four-
SERIES and three-part textures, and in many basic pianistic
styles.

No. 3 THEMATIC OCTAVE STUDIES—Wilson G. Smith

for variations on an original theme for piano

No. 4 SCALES AND CHORDS— F. A. Schuiz

all the major and minor keys
PIANO No. 5 TUNEFUL TASKS— John Thompson
20 little tunes in etude form for first-year piano students

No. 6 28 MINIATURE ETUDES— Ella Ketterer

a book of studies for the third-grade piano student

No. 7 SLICK TRICKS— Jean Reynolds Davis

20 technical diversions for the intermediate piano stu-
dent

No. 8 SCALES AND CADENCES—Theodore Presser

No. 9 SELECTED CZERNY STUDIES
revised, edited and fingered with annotations by Emil
Liebling
Book One

No. 10 SELECTED CZERNY STUDIES

Book Two

No. 11 SELECTED CZERNY STUDIES

Book Three
No. 12 COMPLETE SCHOOL OF TECHNIC FOR THE
PIANO — Isidor Philipp
includes: flexibility and independence; scales in all forms;
extension; arpeggios in all forms; double notes; octaves
and chords; trills, tremolo, giissando

THEODORE PRESSER COMPANY

Bryn Mawr, Pennsylvania
ICI
*<i,riof