22 PART IL. Arpeggios. COMMON CHORDS AND THEIR INVERSIONS. PHYSICAL GROUPING WITHOUT FINGER MOVEMENT. ‘The hand in playing an arpeggio and its inyersions has the same number of physical shapes as there are white notes in the triad. In the following, all three examples aro physically grouped as in the direct position of the chord. a i a I. site, as = =f tS = Pe eit rag In the following, the 1% and 2% examples are two different physical groups, the 3° example is a repetition of the RH fie = pes = = ON FINGERING. ‘The principle on which arpeggios are fingered is this+ (a) When, ascending, the Right Hand commences on a white note, begin with the thumb (1% finger in Continental fingering). (b) When, ascending, the Right Hand commences on a black note, place the thumb on the first white note. For the Left Hand the same rule applies in playingthe arpeggio descending. ‘To know when to use or omit either the middle or the ring finger(8tand 4° in Continental finger- ing) lay the hand over the physical group concerned and add thereto with little finger (5%) the octave of the thumb note. Now if the note between the index afd little fingers (289 and 58) is nearer (actual not musical distance) the index finger (24), then and then only should the middle finger (3¢9) be used. In all other cases use the ring finger (4‘) Ex: R.H.ptgtg—set = gis uw 'S t ‘The student should practise placing the group of three fingers lightly upon the surface of the Keys and again upon each succeeding octave, carrying the forearm to and fro in as continuous a movement as possible. : Ex: ng ee i= Ex: LH. 2 q 3 Be 4 45 ‘The physical groups, shewn by the sign -— where the arpeggios are printed in full, must be each and all practised in like manner to the preceding. s11886228 PHYSICAL GROUPING WITH FINGER MOVEMENT. Place and retain the fingers lightly upon the surface of the middle notes of each example and practise the thumb (15!) movement to and from the first notes of each group. In this, because of the wider extension, it will be necessary to aid the thumb (1**) by a sideway motion of the wrist. When the thumb (1%) is in its normal position at the side of the hand,the forearm and middle 28 Finger tip finger (3%) will form an angle thus:-R.H. (- ~ = Wrist =. Elbow When, however, the thumb (18) is passing under the hand or the fingers over the thumb (If), the BE Finyer ti ~ Wrst - Elbow line from the elbow to middle finger (3%) tip will gradually change to an angle, thu: Take care that the wrist does not rise or fall during this movement. Fy fits Riseadgegig 1 si ea tellowa eA m : Ex:R.H- apt ‘Those students whose hands are too small to be able to retain the two middle fingers upon the surface of their respective Keys when practising the above, may instead rest one finger thus, the 3°¢ or 4t? according as the physical group requires. RE 3 Ll Also as follows:— : In like manner to the foregoing the linking of the successive physical groups which form the several arpeggios or their inversions must be each and all practised until the mind instantly and subconscious. ly allies the required notes and fingers. ‘The most systematic order for arpeggios to be learnt is as follows: C major, D minor, E minor, F major, G major, A minor D major, E major, A major C minor, F minor, G minor B major, B minor C sharp major, E flat major, Aflat major C sharp minor, F sharp minor, A flat minor B flat major, B flat minor Fsharp major, E flat minor. wyonRawe suiss6ARPEGGIOS OF COMMON CHORDS. Physical groups shewn thus: -— 18 > Tite Ties i Grant Se Vag eed oa oe D MINOR. su1a86A MINOR. E MINOR. me LE a mre 6 B MINOR. 11886 ‘6 F# MAJOR, (Enharmonic Gh) FE MINOR, 5 nay, bans & meet s aad & Ab MINOR. (Enharmonic G# minor) : on sessBb MAJOR.28 ARPEGGIOS OF DOMINANT SEVENTHS. ‘The rules for fingering Common Chords apply also to these (and to Diminished Sevenths) with theone exception that there is no question of using or omitting any finger. The first four fingers (1,2, and 4) are always employed in each group. The exercises on physical grouping without and with finger-movement must be applied toall these new formations. In the Key of G sires In the Key of D. 3 ee Ona, 4 — De are Ts toes i ORS SS iS io < eset 4 In the Key of Ay 4, 4 BES atti fee 1 cocay aettrre gD 1 fore ai Bi "i 23 rag a vs es In the Key of ©. 7 : es sess FE tiefade mts . Vee ad ba ® aE fess BS Te eetites 3. Y fers ‘ats re f 2,Inthe Key of F# (Enharmonic Gb.) Tyee: “nes 2 OES In the Key of CF (Enharmonic Db.) a 2, 5 Rimes tpt tafe 1 os ge ~ & TOT * *. ee * ae In the Kept Ab 8 bay 4 gary @ \ ‘ ant] aioe GRe eee fas 2 i + i ‘ was! foe He ett 3 : 5 Oe S ee In the Key of Eb © ae Z Praga Soe Feta re, o ca ae gs In the Key of Bb. ‘aa merase . 3% ees faa In the Key of F. , Ms suta86ARPEGGIOS OF DIMINISHED SEVENTHS. Inthe Key of C. —* me a ? eee OS ew Xe a oth wang & In the Key of D. gee ae a ? 3 ee a tai < Ce al 11886An the Key of Ff. (Enharmonic Gb.) 333 A us In the Key of Cf, (Enharmonic Db) os Ta the Key of Ab. z ; Ss ts GR ar saiaala mit P PTE a atltes boat Leyte — 5 = o & lores pe ee erreeg oa « ie In the Key of Eb. St, eet ete i? oe % a + + a = we Beer oe In the Key of Bb. 3 rae 2, ight. i (2 2EE apiertess ep axa 2 In the Key of F, ’ ttt seeeeetes, ‘tp ete 5? is 4 2 t o mr oo TS ee Pray erage ta at