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The University Course


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A STANDARD TEXT-WORK
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IMIYERSITY COURSE y^ MUSIC STUDY'


INTRODUCTORY DIVISION

GRADE ONE

'

CONTENTS
o/

Book

Page

The University Course, Students' Abridged Edition


Chapter

XXIV

XXV
XXVI
XXVII

__..__-_..
___.-_
____......

Embellishments
The Dominant Seventh Chord
Parallel Thirds
The Dominant Seventh Inversions

9
23

36
48

Two-Minute Stories from Music History


Chapter

XXIV

.____-_______
Boy Who Became
Famous
.__^___._..
_______

The Greatest

XXV

Trying

XXVI An

of Pianists

to Force

Opera

Italian

Technic

Composer

XXVII The Last

of the

Three B's

Additional Compositions for Supplemental or Optional Use

.__.._
....____

Morning Song

Eighth Velocity Study


Prayer

Page

Page
Gurlitt

12

The Place

Gurlitt

26

Andante, Op. 36, No. 4

Mortson

43

Happy Go Lucky

Love

Mendelssohn

60

dementi
Behr
.

61

(four-hand piece)

61,

INDEX OF COMPOSITIONS
[References In parentheses are to chapter and page in complete work; Grade

i,

if

not otherwise indicated]

Alphabetically by Composers

Alphabetically by Titles

Page

Page

A
Aeolian Harp

Bertini

by Beethoven
Andante, Op. 36, No. 4
At the Tea Dance

Paisiello

Air, Arr.

(xxvii-7)

53

(xxvii-17)

58

Ci.ementi

Kohler

.Beethoven, Ludwig van


Romance, Op. 143, No. 9 (four-hand
Romance, from Sonatina, G major
Sonatina, G major. No. XXXVII

61
(xxiv-5)

piece)..

(xxv-14)

28

(2-xxiv-8)

28

(xxv-8)

27

18

Behr, Franz (Bare)

Happy Go Lucky

B
Franchescot
Gurlitt

Brittany Folk Dance

By

the Spring, Op. 101, No. 5

Chromatic Study
Country Dance

Spindler

Pauer

(xxiv-8)

16

(xxvii-15)

52

(xxvi-ii)

38

(xxvii-14)

57

Bertini,

Henri Jerome

(four-hand piece)

63

(Bare-tee-nee)

Aeolian Harp

(xxvii-7)

Clementi, Muzio
Andante, Op.

Ehmant, a.

36,

53

61

No. 4

(Ay-viant)

Swing Song..

(xxvM-12)

60

(x.\iv-8)

16

(xxvii-is)

52
26

(xxvii-13)

56

(xxx-12)

11

D
Dream, A, Op.

107,

No.

Reinecke

21

(xxvi-io)

Franchescot

44

(Fran-chess-ko)

Brittany Folk Dance

Gurlitt, Cornelius
Echo, The

Reinecke

Eighth Velocity Study, Op.

Evening Peace, Op.

107,

83,

(xxv-io)

No. S.Gurlitt

No. 27

Reinecke

(xxvi-14)

(Goor-lit)

32

By

26

Eighth Velocity Study, Op.

the Spring, Op. loi. No. 5

No. 8
Hardy Horseman, The, Op. 117, No. 32
Hunting Song, Op. 82, No. 42

45

83,

I-

Morning Song
Festal Song,

LeCouppey

(xxv-13)

Sunshiny Morning, Op. loi. No.

35

Copyright 1923, by National

Academy of Music

(xxiv-io)

19

INDEX of
COMPOSITIONS

UNIVERSITY

COURSE

Alphabetically by Composers

Alphabetically by Titles

Page

Page

Handel, George Frederick

Ga votte

Lanciani

(xxvii-i8)

59

H
Hardy Horseman, The, Op.
No. 32
Hunting Song, Op.

82,

117,

GURLITT
GuRLiTT

No. 42

(xxvii-13)

S6

(xxx-12)

II

Rocking

(xxv-7)

Kohler, Louis (Kay-ler)


At the Tea Dance
Study, Op. 50, No. 10

.(xxiv-5)

18

(xxvi-8)

40

(xxvii-i8)

59

(xxv-13)

35

(xxvi-9)

39

(xxiv-6)

14

Lanciani, Pietro (Lahn-she-ah'-nee)

Gavotte
I

Heard a Brooklet Murmur

In Solitude
In the Highlands

Schubert

(xxvi-6)

40

Mortson
Wilson

(xxvi-7)

41

(xxiv-ll)

13

LeCouppey, Felix

{Le-coop'-pay)

Festal Song,

Lichner, Heinrich

Melody
J
Jig,

Mortson

A, Op. 40, No. 13

(xxv-12)

25

Mello, A.
Sandman

So Early? The

Mendelssohn
LiCHNER
Gurlitt

Melody
Morning Song

(xxvi-9)

39

Place

Love, The

60

12

Mortson, R.
In Solitude

N
Mortson

Nero Strokes His Lyre

(xxvii-6)

S3

Mendelssohn
Mortson

The

Prayer

60

major

Finally Agree

Handel
Beethoven

(xxv-7)

31

(2-xxiv-8)

28

So Early? The

Mello
Moller

Serenade

March, Op. 39, No. 5


Tschaikowsky
G major. No. XXXVIL. .Beethoven
Song, A
Spindler
Song of Hope
MiJLLER
Study, Op. 50, No. 10
Kohler
Study
Mortson
Study
Pauer
Sunshiny Morning, Op. loi. No. 3. .GuRurr
Swing Song
Ehmant
Soldiers'

Sonatina,

(xxvi-6)

14

(xxvi-4)

42

(3-X-11)

30

(xxvi-4)

Song of Hope

(xxvi-3)

42
42

(xxvii-17)

58

(xxvii-14)

57

(xxvi-2)

37

(xxvi-io)
(xxvi-io)

44
32

(xxvi-14)

45

(xxvi-6)

40

(xxvi-ii)

3S

(xxv-9)

34

(xxv-6)

29

Pauer, Ernst {Pow-er)


Country Dance
Study

27

(xxv-9)
(xxvi-3)

34
42

(xxvi-8)

40

Echo,

(xxvii-i6)

54

Evening Peace, Op.

(xxvi-12)

37

(xxiv-io)

19

(xxvii-12)

60

Reinecke, Carl (Ri-neck-e)


Dream, A, Op. 107, No.

Schubert, Franz
I Heard a Brooklet

55

Song,

Stamaty

(xxv-6)

29

Violoncello,

Soldiers'

Four-Hand Pieces
Gavotte, Op. 43, No. 13

Happy Go Lucky
Romance, Op.

43,

No. 9

No. 27

Murmur

Stamaty, C. {Sta-mah'-tee)

The

of the Turks, Op. 43, No. 11

107,

Tschaikowsky,

March

21

The

Chromatic Study
(xxvii-9)

V
Violoncello,

{Py-see-el'-lo)

Air (Arr. by Beethoven)

Spindler, Fritz

Mortson

Finally Agree

55

'

(xxv-8)

T
They

54

(xxvii-9)

Serenade

Paisiello

53

(xxvii-l6)

43

Sandman

25

43

MiJLLER, A. E.

41

(xxvii-6)

Study

They

R
Rocking
;
Romance, from Sonatina,

(xxvi-7)

(xxv-12)

Prayer

P
Place I Love,

A, Op. 40, No. 13)


Nero Strokes His Lyre
Jig,

{Chy-koj'-sky)

March, Op.

39,

No.

(3-x-ii)

(xxvi-12)

46

(xxiv-ii)

13

.(xxiv-12)

20

Wilson, M.

Wilson
Behr

(xxvi-12)

.Wilson

Beethoven

P.

The

63

Gavotte, Op. 43, No. 13 (four-hand piece)


In the Highlands

(xxiv-12)

20

March

(xxv-14)

28

46

hand

of the Turks, Op. 43, No.


piece)

11

(four-

PREFATORY COMMENT
Examiple No. 8

In this Student's Abridged Edition of The University Course of Music Study, Piano Series,
there

is

etudes,

contained

all

and pieces

of

in the

the essential

exercises,

unabridged work, and

in

number of supplemental
compositions, which can be drawn on at will to
addition a considerable

[Example No.

Example No.
Example No. 3

average amount of time to practice, but thoroughness and a natural development are at all times to
be preferred to a superficial development, however
rapidly the student may seem to progress.
It is recommended that each pupil shall have a

Example No.
Example No. 10

Where no such

work which

With such

show

all

unfinished

and teacher at

each lesson, a comprehensive plan can be pursued


way.

in a systematic

At

the end of a paragraph of text in this edition,


number enclosed in brackets indicates the

a section

location of additional text in the unabridged work.

Under each example number there is found in


brackets and in smaller type an exercise or illustration number, by which to locate the same item
in the same chapter in the complete edition.
If the number in small type is an "example"
number, the material has been carried over from
the teachers' manual; if it reads " Sup. Tech." it is
from a Technical Supplement.
Thus:

Example No.
[Illustration

Example No.
Illustration

No.

4]

i in this chapter of this edition is


in the same chapter of the

No. 4

new

is

found

it

for

the

does not

material, but the re-

printing of earlier exercises for convenience of


student and teacher in connection with the Cumu-

Review and Elaboration of Fundamental

lative

reference to an example in a previous chapter

SAME edition

(i-vii,

Ex.

Example No.

planned to review at a later date.

it is

a record before student

chapter of this edition

reference

indicate the insertion of

of the

It also will serve to

in this

No. 7 in the Technical Supplement


Junior Graduate Division (Grade III).

completed, and that which is


carried over or elaborated upon from lesson to
lesson.

for this

10

is

Technic.

is

Manual

[Sup. Tech. III-7]

Practice Book, in which the teacher will indicate


in writing the work assigned for practice and
study, that which

in the Teachers'

grade.

lend variety and an opportunity for choice on the


part of the teacher in the treatment of the individual problems.

Four books constitute an average year's work,


particularly where a student is attending school.
Faster progress is possible for those of marked
musical aptitude or who devote more than the

3I

8 in this chapter of this edition is

(2-xii,

section

5)

6)

is

as follows:

means Grade

i.

Chapter 7 and

6.

indicates

Grade

2,

Chapter 12 and

5.

a reference to page 2,^^ in Book 2


of this Students' Abridged Edition.

(1-2, p. 36) is

of

Grade

I,

The review

of earlier

work

is

always productive

the employing of easy material


for practice in sight playing. These are two principles most commonly neglected in connection
of great good, as

is

with piano study, and which have much to do with


the cultivation of musical intelligence and that
degree of musical understanding which is essential to musicianship.
A review of the earlier material of The University Course with each pupil,
will enable any teacher to standardize his instruction, and eventually if he so desires, to combine
class instruction with private teaching.
The chief endeavor in the preparation of this
edition has been to supply in simple and compact
form a selected and graded collection of material

Example No. 5 in this chapter of this edition is


Exercise No. 3 in the same chapter of the complete

which will serve as the basis for any method of


music instruction, and which will be within the
reach of every student of the piano, without exEvery essential phase of piano playing
ception.
is embraced,
but in such form as will permit
every teacher to exercise complete individuality of

work.

application

complete work.

Example No.
[Exercise

No.

3]

and treatment.

CHAPTER TWENTY-FOUR

INTRODUCTORY DIVISION
TWO-MINUTE STORIES
FROM MUSIC HISTORY

LISZT AT THE AGE OF THIRTEEN, FROU


AN 1824 PRINT IN THE LIBRARY OF THK
OPERA, PARIS

THE GREATEST OF PIANISTS


anyone

If

asked to

who

name

acquainted with music should

is

be

known,
"Franz

the greatest pianist the world has

will
come without hesitation:
Few, indeed, are the persons who have not heard
the famous Hungarian Rhapsodies played by band, orches-

answer

the

Liszt."

tra, player-piano,

or phonograph.

He was born October 22, 181 1, in Hungary, where his


father was in the employ of a wealthy nobleman.
It is
said that a comet suddenly blazed out on the night of the
boy's birth.
He was a delicate child and his parents despaired of raising him.

At one

time, in his second or

third year, he was given up as dead and his coffin orThis physical weakness continued up to his sixth
dered.
year.
In his manhood he had abundant physical vigor,

and was a commanding

It

figure.

that he began to show marked inclination


for music; when his father played "he leaned against the
He
piano, all ear," says the elder Liszt in his diary.

was then

It

On

one occasion
he was asked what he wanted to become when he grew
In reply he pointed to a portrait of Beethoven who
up.
was always his musical idol, in the music room, saying:
'Such as he!'"
repeatedly asked to be taught to play."

The

first instruction was given by the father and the


fellow made wonderful progress.
His marvelous
memorjr astonished every one. Again his health gave way
and his life was despaired of. After his recovery his devotion to music seemed greater than before.
He began
to improvise, to make melodies, and to put them together.

little

It w^as evident that the boy was intended by nature for


a musical career, but the father was too poor to pay for
This, by a stroke
his education under a master teacher.
of good fortune, was provided by a group of Hungarian
noblemen, music lovers, who guaranteed a yearly allowance of $300 for six years.

Next we

find

know the
wrote who had
dents

him

at

latter

Vienna with Czerny most stuby the Finger Studies which he

been a pupil of Beethoven, at that time

and the object of Liszt's passionate adoration.


So rapid was the boy's progress under the very strict
teaching of Czerny that when he was eleven years old

still

alive,

he gave a concert. He had never been able to see Beethoven who did not want to be bothered by a so-called
prodigy; but through the persuasion of Czerny, backed
by other mutual friends, the Master consented to attend.
Imagine the joy of the young musician when he entered the hall and stepped to the piano to see Beethoven
sitting near with eyes fixed upon him.
The boy played
superbly a concerto by Hummel.
Then a theme was
handed to him on which he was expected to improvise.
(Czerny had asked Beethoven to make out a theme, but
the composer neglected the matter. )
The reception at the
end of the concert was overwhelming. And to cap the
climax Beethoven mounted the platform, went up to
the boy, and kissed him several times.
is

worth mention that the great genius of Liszt and

the great improvements he

made

piano playing were based on the

later in the technic of

system of
Czerny, in whose studies many young players can arouse
no interest.
Our next view of him is at Weimar, in Germany,
which was his home for a number of years, whither pupils
from -Europe and America came in great numbers to
profit by his instruction, comparatively few, only the
most talented, being accepted. Sometimes he would dismiss a room full of pupils, saying that he did not feel in
the mood to give lessons. At other times he would hear
several play,
each one present had prepared for a call.
Here is a pen picture of a lesson: As the player performs Liszt walks up and down the room muttering to
himself, smoking all the time.
Suddenly he pauses to
listen intently to a passage which does not satisfy him;
going to the piano he bends over the player and delivers
the phrase as it ought to be. Other corrections are made
strict, classical

in the

same way.

At

the conclusion of the piece, if the Master is in good


humor, he will sit down and play over the whole work,

from beginning to end. At another time, without comment, he will call another pupil to play. He rarely troubles himself to give advice concerning the technical portion of a performance. What he looks for and endeavors
to inspire is the general effect of a rendering.
Liszt died at Bayreuth, Germany, August i, 1886.

CHAPTER TWENTY-FIVE

INTRODUCTORY DIVISION

Robert Schumann

TWO-MINUTE STORIES
FROM MUSIC HISTORY

SCHUMANN
IN

BIRTHPLACE

ZWICKAU

TRYING TO FORCE TECHNIG


It is

worth more than a passing remark that the early

But he could not give up music and the

piano.

We are

part of the nineteenth century should have been the


period of birth of four famous musicians, namely, Men-

told that he practised seven hours a day and even appeared


in pubhc as a pianist.
In 1830 his mother withdrew her

delssohn in 1809, Chopin and Schumann in 1810, and


Liszt in 181 1.
Perhaps no other period of two years in
the history of music covers the birth of the same number
of eminent men in music.
To the first music owes a debt for his service in reviving and keeping alive the classical music and the works of
Bach, his own compositions full of charm and models of
To Chopin music is indebted for the
clear construction.
forming of a school of composition especially suited to
the piano. To Liszt we owe many improvements in piano
technic as well as his work in composition.
And of
special value was his influence as a teacher upon the
many young musicians who came to him.
With Schumann another influence, a different type of
mind, came into music, the highly trained intellectual
type; he was a university man, with skill in literary workmanship as well as in the composition of music. The art
of music needed, at this time, just the sort of work which
Schumann was qualified to give. Liszt had given social
standmg to the musician and now Schumann contributed

opposition and he became a pupil of Friedrich Wieck, a


famous piano teacher in Leipzig, with the intention of
becoming a concert pianist. He was the father of Clara
Wieck, celebrated as a pianist even as a girl, who afterwards became Schumann's wife.

The young man,

with great ardor, working assiduously at wrist and finger


exercises, seeking to perfect himself as a performer.

In

advance with the greatest possible rapidity


and to gain free-finger action he made use of a device
which would keep the finger next to the little one quiet
while the others were moving. It is well known to all
his anxiety to

students of piano playing that this finger moves less freely


than the others. Schumann's idea was that by the device
in question he could stretch the ligament binding this
finger to the adjoining one and thus secure greater agility.
In his enthusiasm he practised to excess and strained the
finger to such an extent that he never recovered its free
use, thus cutting short his hope for a career as a pianist.

to his intellectual reputation.

Robert Schumann was born at Zwickau, in Saxony,


one of the German states, June 8, 18 10. His father was
a bookseller and, publisher. Like most persons highly endowed musically, Schumann showed his talent at an
early age; he himself speaks of having commenced to
compose in his seventh year. When he was eleven he
acted as accompanist to a public performance and began
to gain a reputation as a clever extempore player.
He
was accustomed to play on the piano little musical
sketches which he called portraits of his school friends.
The literary atmosphere in the Schumann home was
naturally very strong, and his second nine years turned
more toward literature than to music, no doubt, in large
measure due to respect for his mother's wishes. During
this time he studied very closely the romantic literature of
the day and wrote some essays.
In his eighteenth year he
went to the University of Leipzig to begin a course in
law. A year later he went to Heidelberg.

about twenty years old, threw hima musical career as pianist

into his preparation for

self

In this there

who

is

is

a lesson for the ambitious

young player

tempted to force his technical development.)

But what was at the time a great disappointment to


him, and a personal loss, proved to be a gain to music.
For he began to develop his splendid intellectual powers,
his wide acquaintance with philosophy and literature, and
As a player
his creative faculty in the line of composition.
he would have been heard by a few as a composer he has
reached a world.
;

No

who read this


Album for

have played some numbers


the Young, Op. 68, which
contains pieces especially intended for young players. He
was wonderfully helped by the devotion of his wife who
took upon herself the mission of playing her husband's
works and of making them known to the public.
The story of their courtship and of how parental opposition was overcome is full of romantic interest.
Schumann died July 29, 1856.

from

doubt

all

his delightful


INTRODUCTORY DIVISION

CHAPTER TWENTY-SIX

TWO-MINUTE STORIES
PROM MUSIC HISTORY

Giuseppe Verdi

VERDI S BIRTHPLACE,
RONCOLE, NEAR BUSSETO.

AN ITALIAN BOY WHO BECAME A FAMOUS


OPERA COMPOSER
War was raging in Northern Italy, in 1814. The
Austrians and Russians had invaded that part of the
country and were driving the French before them. As
the invaders advanced they laid waste the country, the
Russians, in particular, showing extreme cruelty, massacring the inhabitants without regard to age or sex,
burning houses and leaving nothing which they could
destroy.

Not to give up music, however, but to continue;


for his employer was a fine amateur and encouraged the
plies.

this man noted Giuseppe's marked


he gave the latter the use of the piano in his
own home and began to regard him as one of the family.
During this time Verdi was educating himself in music by practice and study, attending rehearsals of a local
orchestra, and by copying parts from the score which
brought him into touch with the conductor who gave
him much helpful advice and lessons without charge. He
progressed so rapidly that in his sixteenth year he frequently replaced his teacher at the cathedral organ and

boy.

Undoubtedly

talent, for

One morning they neared the little town of Roncole.


The people of the village, the women in particular, wild
with

terror, fled to the church, thinking that in that


sacred place they would find safety.
But the Russians,
after sacking the village, entered the church and killed
all but a few of the women and the children who had
Among the number who escaped
taken refuge there.
was the wife of a local innkeeper who, with her baby boy
in her arms,

His first teacher was the local church organist. When


he was ten years of age he went to the neighboring larger
town of Busseto to work in the warehouse of a trader
and wine merchant from whom his father purchased sup-

had climbed into the

belfry.

charmed him most of

all

with

his music.

the conductor's chair.

in

(Joseph) Verdi, who was


His parents were of the peasant
born October, 18 13.
another example of the way in
class and quite poor
which Providence has placed the child endowed with
genius in the cradle of poverty, compelling parents and
child to develop this genius through sacrifice.
It was in the atmosphere of a grocery and a wine shop
that the future composer
the only one in the village
of A'ida was brought up. Perhaps the lively good humor
of his surroundings for the Italians sing at the tavern
helped to turn his attention to that peculiar quality in
music which has been called "Italian melody."
It is said that as a little child Verdi would follow an
organ grinder as he passed through the village; and a
vagabond old fiddler who came to Roncole at intervals

The baby boy was Giuseppe

When

the

lit-

was about seven years old his father, in some


way, managed to get a spinet in rather a poor condition
to which young Verdi went at all hours, early and late,
tle fellow

playing scales and searching out for himself combinations of pleasing harmonies.
It is related that he was
overwhelmed with joy when he discovered the chord of
C major. But the next day, on finding that he could not
get the chord again, he became so angry that he seized a
hammer and set to work to pound the instrument to
pieces, only the timely appearance of the father preventing total destruction.

The

next ambition was to go to a conservatory, but for


means were lacking. Fortunately the town of Busseto had a fund to help deserving students, and with the
help of the money granted to him Verdi went to Milan
that

hoping to enter the Conservatory of that city. Imagine


disappointment when the director refused to allow
him to enter as a student on the ground that he showed
no aptitude for music.
Therefore he placed himself under the conductor of the
celebrated La Scala Theatre, at Milan, one of the operatic centers of Italy.
With this teacher he remained
for about two years, gaining experience in dramatic music
his

and productions.

At the age of twenty he returned to Busseto to take


charge of the music at the Cathedral; in 1836 he married
the daughter of his former employer and patron and
started on his career as composer and conductor.
In
1840 his two children a boy and a girl died within a
few weeks of each other and less than two months later
his wife died suddenly.
And yet his loveliest, brightest and greatest music was
written after all these blows:
/ Lombardi, Rigoletto,
II Trovaiore, La Traviata, A'ida, Falstaff and Otello.
The bulk of Verdi's fortune went to establish and supHe died Januport a home for aged opera musicians.

ary 27, 1901.

CHAPTER TWENTY-SEVEN

INTRODUCTORY DIVISION

Johannes Brahms

t^J^/J^fi^l^

BRAHMS AT TWENTY
FROM A DRAWING BY J. B. LA WRENS.

THE LAST OF THE THREE


Who

is

the greatest master of music after Beethoven?

The answer is:


And then we

Brahms.

Von

Billow's celebrated saying of


Bach, Beethoven and Brahms. It
was no small honor that the great conductor gave to
Brahms in classing him with the two great musical giants
of preceding periods; yet the verdict of the world since
then sustains the statement. Brahms is a worthy and undisputed successor in the classical style to Beethoven.
recall

ths three B's of music:

Johannes Brahms was born in Hamburg, May 7, 1833.


His father was a musician, a player of band and orchestral
instruments, who earned a rather scanty living by such engagements as he could secure. While not in actual want
the family life was marked by poverty.

The boy's interest was wholly in the piano, an instrument which the father did not favor. His idea was that
the boy should learn to play several instruments and in
But when little
due time follow his own calling.
Hannes was seven years old it was decided that he should
study piano with a very competent teacher named Cossel.
If the latter could have foreseen, on the day when the
elder Brahms brought to him "a pale, delicate-looking
child with fair complexion, blue eyes and a mane of flaxen
hair falling to his shoulders," how proud he would have
been of the charge he accepted
Yet there is proof that
he soon became aware of the unusual musical endowment
of his pupil, for he gave him much attention, drilling him
in the etudes of Czerny, Cramer and Clementi, and the
music of the great classical masters, as well as some num!

bers in the flowery style then popular, thus laying foundation for the characteristics displayed in later years.

When

Johannes was ten years old he played in a sub-

scription concert to secure funds to continue his studies.

So successful was the concert that an enterprising con-

manager made great efforts to induce the elder


Brahms to take the boy on a concert tour. Fortunately
Cossel was aroused and protested so vigorously that the
project was not carried out and Johannes was placed uncert

der the instruction of Marxsen, a celebrated teacher, one


devoted to the classical system and to the necesThe boy was then about
sity of technical development.
twelve years old.

who was

writer says: "The method of training was severe.


curriculum was Bach, varied by Beethoven, with
occasionally a light piece of a brilliant writer thrown in.

The

B'S

Part of the discipline was the transposition of long pieces


It
at sight, in which he showed a high degree of skill.
is related of him that he would play fugues of Bach in
various transposed keys."
Ability in composition began to show itself while he
was still a lad of eleven or twelve. Previous to that he
found special delight in writing the separate parts of concerted works in score.
(This reminds one of the methods
by which Haydn acquired a knowledge of the principles
of composition.)

In his twentieth year he made a concert tour as pianist


with Remenyi, a celebrated Hungarian violinist, through
which association he gained a very intimate knowledge
of Hungarian music, its melodic and rhythmical characteristics, material which he used with fine effect in his
compositions later.
During this same period he also
made the acquaintance of another violinist, Joachim,
through whom he learned to know Robert and Clara

Schumann.

The

acquaintance with Schumann resulted in an opporBrahms to play some of his compositions before the Schumanns, and the appearance of an article in
Schumann's musical magazine, in which he hailed Brahms
as a master, anJ one of the elect.
One of his few pupils, Florence May, thus describes
him in middle age: "Below middle height, his figure is
somewhat square and solidly built. He is of the blonde
type of German, with fair, straight hair which he wears
rather long and brushed back from the temples.
His
tunity for

most striking physical characteristic

is the grand head,


magnificent, intellectual forehead, the blue eyes
also remarkable from their expression of intense mental
concentration.
He is nearsighted."

with

its

In writing of his teaching Miss May says:


"After
hearing me play through a study from Clementi's Gradus
(a book of etudes) he immediately set to work to loosen
and equalize my fingers. He gradually put me through
an entire course of technical training, scales, arpeggios,
trills, double notes and octaves.
He not only showed me
how to practise; he made me practise to him during a portion of my lesson," noting every movement, criticising,
correcting and giving examples of what he wanted.
If so great a master as Brahms could show so much attention to detail, cannot the average teacher and young
student also afford to do it, instead of going on in a careless, superficial "guessing" sort of way?

INTRODUCTORY
CHAPTER XXIV

UNIVERSITY

COURSE

XXIV

EMBELLISHMENTS
GRACE NOTES THE TURN
A Grace

note

an ornament which represents a tone that is of either less, or more, rhythmic importance than the tone which follows it,
and to which it is joined. As seen in Exarnple
No. I the Grace note is written as a smaller
1.

is

3. There are only four kinds of Turns: either


auxiliary note may be a whole-step or a halfstep above or below the note to be decorated or
embellished.

note than the principal note, and the two notes


are joined by a slur to show that in playing they

1.

2.

Example No.
[Illustration

No.

C Db C B C
A

Grace Note

C Db C Bb C
A

i]

3.

4.

whole-step above and a whole-step below.

Any of the four kinds of Turns may occur upon


each of the twelve notes in the octave, but in the
majority of cases Turns are formed from the
next scale degree ABOVE the written note,
and A half-step below it.
[ 4]

Example No.

Embellishments

[Illustration

2. Those Grace notes that lie a half-step or a


whole-step above or below the larger note which
follows them, are called by an Itahan word,

means "to lean": that is,


leaning tones. The English word em-

appoggiatura, which

they are

whole-step above and a half-step below.

C D C Bb C
A

are to be well connected. A Grace note is a small


note to indicate that it has no time-value of its
own, but that such rhythmic value as is given
to it must be taken from some other note.
[ i]

bellishments is the term applied in general


to Grace notes, and other groups of sounds added
to a melody to beautify it.
[3]

above and a whole-step below.

half-step

C D C B C
A

above and a half-step below.

half-step

The Turn

No.

3]

The Inverted

The Turn

Turn

eve

-or

**-

^P

i
notation performance notation

4. On

performance

the keyboard there are sixteen different

The remaining possible thirty- two


are transpositions or duplications of some one of

Turns, only.

The Turn
3. The most common embellishment is the
Turn, a group of notes formed by using the

upper leaning tone or appoggiatura in conjunction with the written note, then followed by the
lower leaning tone and ending with a repetition
of the written note. Such "leaning" tones may
be called auxiliary or helping tones.
for the abbreviation of a
like

is

The

of the notes

is

be inverted, and
like the letter
1.

ornamented.

to be

If the order

to be reversed the turn


its

sign

is

"S"

laid

on

set

is

Practise these Sixteen

Example No.

in

Example No.
[Illustration

Model Turns

4, also the entire series as

No.

3.

as in

Inveited
[ 5]

3
4]

sign

a curved line

the reverse of a capital letter "S," placed

above the note

No

Turn

these.

Example No.
Turns, shown

II

-jjj- ii-j-|jjj-i
i

said to

on end, or is reversed,
back as in Example

its

[ 2]

III

'i

-jijjijg

The Acciaccatura
5. Where a Grace note is to be played almost
simultaneously with the ornamented note, and

Example No.
[Exercise No.

The Sixteen Model Turns

143434
82
i]

II

-6

3
3

IV

III

m
t

VI

rS-

/^Ajl'- hJiW-'lt^J^-hm^i
i^ i ^ ^tt'^

IX

VIII

VII

XI

m
XII

Example No.
{Exercise No.

XV

XIV

XIII

XVI

" Crushed Tones "

^
*^

I**

^M

::

Acciaccatura

2]

Smbfrj^
^mr

(vR

J=

,rJiV

>'lt

Example No.
C Minor

'^m ^

fe

Melodic Minor Scales, in nine-note lengths

F Minor

^^Mk^-^'

1^

l..,3_H4_l-*-i^

thus "crushed " into it, it is called an acciaccatura.


such "crushed" tones as in Example
No. 5. Ordinarily an appoggiatura is played on
Practise

and its duration is for one-half of the


time unit, the ornamented tone following gracefully and continuing to sound for the remainder
of the indicated time. In contrast an acciaccatura
the count,
is generally played slightly before
the
ornamented
followed
by
and is immediately
tone ON the count. Another way of playing the
acciaccatura is to play the acciaccatura and the
principal note simultaneously, and either on or
slightly BEFORE the count, immediately releasing
the acciaccatura while the principal note continues
the count,

Tty
5

three-part harmony, and each tone of the chord


is

importance, all played lightly and


with wrist action. At other places the
more that of one melodic voice, with an

of equal

staccato,
effect is

accompaniment that

Morning Song,
7. This

number

is

slightly subordinated.

Gurlitt

affords the student an opportu-

nity for practice in chord playing. It is essential


that all chords be played without a break between

In a sense the player ought to have


the
keys under his fingers before he
of
the
This insures the simultathe
keys.
depresses
the hands.
feel

neous action of the two hands.

to sound.

Practise the Melodic minor Scales in Example


No. 6 in the three rhythms previously given.

Hunting Song,

Gurlitt

In the Highlands, Wilson


8. The Grace notes in the piece In the
Highlands should be played without accent.
They should take their time-value from the note
which precedes them, as

6. To represent the characteristic of the old-time


hunting' horn only two chords^the Tonic and
Dominant are used in this little piece. In meas9

and

10,

three

horns produce chords

they were sixteenth

They should not be hurried over, but be


notes.
played very broadly, the accent upon the fol-

ures

if

lowing note.

in

10

']

At the Tea Dance, Kohkr


9. The Grace notes in At the Tea Dance

as are the sounds of a drum.


The Grace note is
an acciaccatura. The principal theme begins in
the third measure.
Observe the accent on the
ordinarily unaccented count of the measure, as
in measures 1 and 3; be sure to join this accented
note to the one that follows, as indicated by the
slur, producing a legato effect.
Technical interest
is found in the passages in Thirds in the measures
following the double bar.
Memorize the fingering. The alternating two-note groups in measures
30 and 31 are an effective means of bringing back
the main theme.
[ 8]

should be played almost simultaneously with


the principal note which they ornament, and
which immediately follows them, connected by a
slur.
Since the principal note must be staccato,
the effect will be much like a very rapid staccato
Lightness and grace are to be sought,
arpeggio.
the former especially in the polka section, the
latter in the waltz movement.
[ 6]

The Sandman So Early?

Mello

10. In this number it is permissible to play the


Grace note exactly on the count, "crushing" it

Sunshiny Morning,

which follows.
This
interpretation of the embellishment as an acciaccatura is possible because of the moderate
tempo of the piece. The repeated chords in the
middle part must be kept light, without the
slightest approach to "pounding."
Keep the fingers against the keys, and produce the sound by
pressure, each chord separated from the next. 7]
into

the

note,

principal

The

12.

in halj

is

Gurlitt

that of the old-fashioned


directed to the rhythmic
is

by a

figure of the dotted eighth followed

Compare
to make
the

it

Franchescot

sixteenth.

to the groups of four sixteenth notes

sure that the dotted eighth note receives


time of three sixteenth notes.
[ 9]

full

March of the Turks,


The

better

Wilson (Four-hand piece)

follow

to

the

characteristics

of oriental

music, the player should place the


Grace note almost exactly on the count. Sharp,
clearly defined rhythm is important, particularly
in passages in which the pupil does not have the

11. Keep in mind the different effects of changing steps in a people's plain dance, the type to

which

Attention

iTiinuet.

13.

Brittany Folk Dance,

general style

belongs.
The opening double notes,
note value, are not melodic but rhythmic,

this

full

melody.

[ 12]

HUNTING SONG
GURLITT

^S

Con moto

-'s

'mm

IT^lf^

6=1
4

11

f
1
V
V

';-

F=F=^
p

'
y

i^^^

ii =2i

-z.t

11

i SE
=t

'

l.k.

^m s *

^^irp~7

h^^
:^

mi ^

sa^S

mz

mA

Op.S2,No.42

^m

=g^^^

*=3=t
g

.S

MORNING SONG
GURLITT

C.

Op. 140, No.3

Andantino
2

^
1

5?

4 3

5
2

*F
3

^Efe

r^?
ii

13

^
i f=l^
n^ r

*^-

)^

p^
///

f^^ff

^^*i

lEEat

W=iTW

^^^
P=n^?

r
^

<^

1*

'poco rit.

J3a tempo

^f^

4^

m
*

1|

P'

ir

1,

1^

^^

#^

I*

^^^

-s

1* r

*f=p;
rail.

5^^

12

IN THE HIGHLANDS
MTORTIMER WILSON
Op. 40, No. 12

Andante moderate

S
mp

i i=p

"^

ie ritmato

:U;

P^

|4

^^

ji^a tempo
^^^

; -

^m

;^

#=p^

^i
poco

&

f^a=^

^^^m~

'

r
1

'
'

jooco rit.

s
13

rit.

THE SANDMAN- SO EARLY?


MELLO

Moderato

=?z=

rrfrrffr

>^4

li
g^

1'^

r^^

f
r

-'

fl/

m
r

'

p
r

r.lr

^m

i
r

f
rail.

>.

V77"r
r

^ f r

r-

j^r

UJ
^

a tempo

i^

g
14

^
^ ^

a tempo

J^XUltB

simile

34313
f

43

^3! iiiii

13

i i L L i

^^
a

3i
:i=i=i=
* * i

J =1=1=1
m

tt

m
i

n1

3
pp

\i

rit.

f^

Vi'

2,

Ife

a tempo

>f

g
ii^

3,

g g p ^ p

^.rS-

PP
'

y.

l^f

ig
7norendo

rit.

i
15

=22=

BRITTANY FOLK DANCE


FRANCHESOOT

Allegro moderato
3

nsmn)
^
#E
* =* ^

i^^=
l

f
r>"a f^j
14

i^JjJJJ

4
3

^f

')
I

Tr

i
2

'If-

ll

3-^-

E
mp

a tempo

r^Y.

S^i^

^^ ^
S
>

13

mf

i=^
l^^s^

^=MF

>

4 "?

"r

Ji

,1

rpin^ri I

45

f;/^*llJj^ J J

'>-t

45

^^^

con seviplicita

^^
^
T

2
5

8
6

16

o
2

J-^^ll J J^ j j

i^

^g

trr
y ^

^hd~*-

;^f

^mp
\

^m

^ g

^f

[>

f^

rt
ii|

4 A

(nnrpu i
l

i^

17

'V'

^
I

J'

^'

J^

AT THE TEA DANCE


Tempo

KOHLER

di polka

12

3 2

i ^

3,

0m a

-"T^r-

p
^1:

i*.

fc=^

<?h

s
/

3 2 1

^^

t:=t

^Fi

'

m ^m ^^ ^
4

3|.

ail

J3

SI

^^

ny

5i=3^

Tempo

'

j>f--

i3

4^

T1'

i
^ r^

**

ei^e

j;f

,;

^s ^
7

jr^

*^

1 1

^ g^

*s

^ ^^

Fine

di valse

m^
*^ n
*

1.

J
i

r^

i r ^
i

'

gt

2jt?

^^^ i^^ i

fW^^^

if t

X-T

fegfe^

wt

w^

ii

I ^

18

u^
1

3^P

tEt
/>.

C.

al Fine

SUNSHINY MORNING
GURLITT
Allegretto

Vi

1?

r-^

fc^ ^

f^^
t

^^

^
^oco ritard

3 t^N^

it

^ ^^
/"

i?i?

-~^.

^m
V

1
^^
^ ^=1=^

^^

i'v

i^

:t3=i

mf a tempo


MARCH OF THE TURKS
MORTIMER WILSON

PUPIL
5E

Op. 43, No.

te

^^

jry^

PftTW
4

z^/'

11

mf

tiPP=
g

TEACHER
Moderate assai

<
til
i
I

M 1^

4
pmf

mf
> 1:

i>

e^^
r
V

^^ i
a

s
i

mf

^^

^^

"if

^i
p

P mf

$
S

^
*^-^

i iff f-f-4

^m

i ifV^

LAL7

fe

i
_

5^

te^

#S

'^

mf

^^m

M
J9 W/1

20

i
P

I
TTif

^^

jiff

'

^^Jl^P

fe

'^=
!

Jl r

^'

^^
^

4i

y.

ESS
t^

y*f^
f

'i

S ^^^

t^

ii

i ^i

\i

s^

j^

^P

"^

Vl:

^
S

^^ 111^
^

^t^^S ^^^5
^

^"'
^^ i= ^
ii^ff

cresc.

r-

flcz^qe

aif

5^

^
^
^

i^

^2

fe 1

T'fr-

p^

i \l^

^^

t^=4

T^^ip

^^

fe
it^*

-r-fr
ilra-

i
cresc.

yiTrV

-#

21

mf

^^

te

it?

i
*J *

(i ^ri

''

'

/"P

f2 4 ^

ffff^

ti

jiro

^B
^

22

'irl7r> n

t?

INTRODUCTORY
CHAPTER XXV

UNIVERSITY

COURSE

XXV
THE DOMINANT SEVENTH CHORD
1. Triads have

been

explained

as

from adding another Third to a Dominant triad


the triad on the fifth degree of the Scale.
[ 6]
2. The Dominant Seventh chords on the twelve
degrees of the chromatic scale are contained in
Example No. 2. After these twelve positions of
the chord have become familiar, practise the
Sevenths on each of the twenty-four broken chord
forms of the Dominant Seventh chord in Example

chords of

three tones, consisting of two Thirds, one above


There are also chords which consist
the other.
of three Thirds; such chords contain four tones.

The "seven
are called Seventh chords.
sevens" are shown in Example No. i. AH Seventh
chords are written upon four adjacent lines or
They

four adjacent spaces.

Example No

No. 3.
As the upper three tones of the Dominant
Seventh form a diminished triad, the Dominant
Seventh has the same tendency to resolve upon
the Tonic as has been observed in the case of the

The Seven Sevenths

A C E G
CE G B
E G B D
3.

I.

2.

^.

diminished triad.

GB D F
B D F A
D F A C

3.

6.

F A C E

is

of the fact that the fourth tone, which changes


from a triad to a four-toned chord, is separated

from the Root by an interval of a Seventh. The


fourth of the above series of "seven sevens" is
as a

Dominant Seventh, because

Example No.

it

results

mwww^

Example No.
[Exercise No.
1.

^1

in

Example No.

Dominant Sevenths

[Exercise No. 2]

'>-\

^^

for

"^
1

4 a

6.

in

Chromatic Succession

m Wtm^m

Twenty-Four Changes

[ 7]

4. Practise the Melodic minor Scales of B\} and


b, as in Example No. 7, applying also the three
rhythmic patterns previously employed (i-xxiii,
Ex. 6).
The scales of F#, C# and G# minor
require a change of fingering in the descending
form, and should be studied last.

called a Seventh chord because

it

known

resolu-

4321.
shown

Such a chord

Dominant

strengthening
the weaker fingers.
Play also with the fingers
Repeat with the rhythmic' grouping

S-

7-

Practise the

Example No. 4.
Practise Example No.

tions as in

'~

of Seventh
1__3_4

Chord Fingering
;

Dominant Resolutions

Example No. 4
[Example No.

2]

l|i^|2L^==

1
-^'*

3l>

3H
6-7.

l
\

'f?ftf

\ \

'1

,9

or

[Exercise No.

[Illustration

No.

12

11

ili8-

13

^.,g^

For Strengthening the Weaker Fingers


LEFT HAND

Rhythmic Variant

j]

Example No.

Or

lO u-8-

Example No.

&

'^ ^
S^^^
\^^

i]

r4 5V3

gf^

T* J^

yw'jyJ"*'

1-**^

*co7itinue

t4 5l

LEFT HAND

continue

etc.

'5

Melodic Minor Scales, in nine-note lengths


E^ Minor

2 1

'

-3

'

'

Separate the phrases clearly.


hand.
even to the extent of shortening the last note of

tempting specifically to cut short the second


note, in order to prevent a general legato effect.
Confine the legato to the binding together of the
two tones of the Doublet.
[ 4]

a phrase.
^

,r.

Jig, Mortson

4.
the

The

movement

is

lively,

particularly

in

right

Sonatina, Beethoven
5. The two-note figure

10]

l'
^l
in

the second measure

calls for a slight

accent.

"^^

\^ mitvrtd from the

title the melody


general sustamed effect is

I", ^^^

right

hand the accompanymg

'^f^^'f-

chords are played

.f/rr/o,

but softly, the fingers

"^^P^ ^'^^^ ^ ^^e keys,

^ Song
8.

Spindler

striking feature of this little piece

is

the

beween right and left hands. When


the left hand plays one of these passages the tone
is to be more prominent than the accompanying

imitation

[ 5]

material in the right hand.


The last note of a
phrase may be shortened slightly, with a clearcut attack on the first tone of each phrase.
[ 8]

Rocking Handel
6. With a few exceptions, the second note of each
of the Doublets, in Rocking, is the same as the
first note of the following pair, which also is

played by the same

the left hand.

'f

shortening on the
slurred
Doublet,
using a
each
note
of
second
The Romance is really the
semi-staccato touch.
second movement of the Sonatina in G major, following the Moderato which precedes it in this
chapter. The Grace notes in this piece take their
time from the preceding note; they receive no

and elsewhere

,,

Violoncello, Stamaty

The Echo,

Reinecke
9. Between the delivery of the various tune
fragments and their corresponding echoes, there

This brings about a


slight separation between Doublets, without atfinger.

24

required not only dynamic contrast, loud and


but also one of execution or touch variety.
The tones of the echo are not only softer but of
much lighter quality. Do not hurry the echo. [ 9]
is

soft,

Romance,

(Four-hand piece), Wilson

11. In a Romance the lyric element is prominent; therefore in its interpretation one must

produce a singing tone, making of it a "Song


Without Words." Follow the phrasing carefully,

as if there

counts are to be given


accent on the first count.
accent both counts to assist in the crescendo.

Do not hurry the Triplets,


but see that the three tones exactly fill the count,
and that the quarter note on count two follows the
last tone of the Triplet without a break.
[ 12]

Festal Song, LeCouppey


10. Because of the rapid movement only two
each measure the
measures
In
13 and 14
to

[ 11]

was represented the short sentences or

clauses in a dialogue.

JIG
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INTRODUCTORY
CHAPTER XXVI

UNIVERSITY

COURSE

XXVI

PARALLEL THIRDS
NORMAL AND EXTENDED HAND POSITIONS

IN

a Third embraces three


Third because it is so written. It may be either major or minor, according
to its scale location. In major scales, major Thirds
are found upon the first, fourth and fifth scale
degrees; minor Thirds are found upon all of the
remaining scale degrees.
Two tones sounded together by two fingers of
If
the same hand are said to be Double notes.
is
a
Third,
it
interval
of
an
the two tones form
position
In
normal
said to be a Double Third.

1.

The

interval

fingerings:

of

hand is capable of playing three consecutive


By an extension of the
parallel Double Thirds.
first finger, four parallel Double Thirds may easily
be played as shown in Example No. i.
Practise this extension of the thumb, first in
broken Thirds and then in parallel Double Thirds,
as in Example No. 2. This Exercise is an excellent
preparation for Study '(Pauer), In Solitude
(Mortson), Serenade {Muller) and Prayer (Moriall

the
in

first

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Broken Thirds and Parallel Double Thirds


LEFT HAND

i]

W
53

may

This principle

group.

Example No.

2. The Silent Exchange of Fingers on Double


Thirds, in Example No. 3, practised with the
fingering i 3 - i 2, is a further preparation for the
legato joining together of parallel Double Thirds,
Practise also with the
in extended position.

[Exercise No.

5 ^

2.

A Dream

of which are contained in the chapter.


[i]

Example No.

53-42, 42-31,

and third fingers gives a general legato effect to the


Double Third passage.
[H i]
change
of
fingers
in
Reiterated
Double
3.
The

Practise
Thirds adds facility and smoothness.
as in Example No. 4, ascending and descending;
also with the reverse order of fingers shown with

the

son),

-3

This substitution of one finger for


another, in order to prepare for a legaio progression
to a following note, covers up to a degree any sepIn this
aration between tones in another voice.
exercise there cannot be secured a legato binding
together of- the tones played by the thumb, but the
legato between the tones played by the second

and 4

It is a

stafF-degrees.

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33

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Preparation for " Chromatic Study

Chromatic Study,
4. In

appear
in

in

the other hand.

appears

hand consists largely of a whole step,


followed by a chromatically filled minor Third.
By way of preparation, practise a diatonic succession of chromatically filled minor Thirds as in
Example No. 5, then precede each such group by a
in the right

Spindler

Chromatic Study, parallel Thirds


one hand against a chromatic passage

the

in the left

ically filled

When
hand

major Third.

it

a chromatic passage
consists of a chromat-

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major Second as

in

Example No.

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47

INTRODUCTORY
CHAPTER XXVII

UNIVERSITY

COURSE

XXVII

THE DOMINANT SEVENTH INVERSIONS


ARPEGGIATED CHORDS
be called for a short form, or where it is more
convenient to use figures in writing them down.
A Seventh chord covers four different lines or
spaces on the staff; a six-five chord has a Second
at the- TOP which stands out on one side
like a
"hump"; a four-three chord has its Second in
the MIDDLE; and a four-two chord has its Second
at the BOTTOM.
The. notation is illustrated in

1. The Dominant Seventh chords can be inverted the same as triads, but as there are four
tones in a Seventh chord, there are also four positions, in which each of the four tones in turn are
These four positions are
placed in the Bass.
the fundamental or Root position, and three Inversions, as

shown

Example No. i. The terms


names which the chords may

in

at the ri-ght are the

Example No.

Example No.

Seventh Inversions

chords as

"seventh" chord

Root Position:

G - B - D -

form

123.4567

B - D -

"six-four-three" or

"four-three" chord

D -

G - B

12^456

[Exercise No.

on

this

instrument the strings are usually plucked

Example No.
No.

Notation of Sevenths

?)

Seventh Six-five
chords
chords

B - C
G
123456

Example No.

in three

[Illustration

"six-four-two" or
"four-two" chord

Third Inversion:

Dominant Sevent h
Example No. 3. Also in broken
speeds, as in Example No. 4.
[ 6]

2. Arpa is the Italian name for the instrument which we call the harp. In playing chords

F G
123456

Second Inversion:

in

Arpeggiated Chords

"six-five" chord

First Inversion:

1.

Practise the Inversions-of the

li

Four-three Four-two

chords

ll

-P

-P

chords

"f

-P

I'

Inversions of Seventh Chords

3I

First Inversions, or Six-five

Chords

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Second Inversions, or Four-three Chords

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Third Inversions, or Four-tw^o Chords

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Broken Seventh Chords in Three Speeds

3I

J =72 to J

K6

100

one after the other in close succession, causing


Consean effect pecuhar to that instrument.
quently to arpeggiate in piano playing means
to play "Hke the harp"; in other words, to "roll,"
"spread" or "disperse" the chord all of which
terms are used by various authorities. A wavy
line before a chord, as in Example No. 5, in-

dicates this manner of performance.


The arpeggio sign appearing before
half notes indicates that

whole, or

No.

Another extension of a Third between


and fifth fingers is introduced in Example No. 8, and in the piece They Finally Agree
which is contained in the chapter.
7.

the fourth

[7]

Example No.

chord

of a

tones

the

Example No. 6 which also is


to develop strength in the weaker fingers.
Practise also with the rhythmic grouping in Example
third fingers, play

[Illustration

are to be played one after the other, while holding down the keys for the remainder of the timevalue of the notes, or by sustaining them by the

No.

r.h.

/I

S3

^379

Example No. 6

PHILIPP
LEFT HAND

^^|JJ^-.f^

1;
jJJ7^JIJJJ'J

454 123

t^r^ *i#

-#

^^
:i

RIGHT

eic.

HAND

JtiffliJJJiUiJJJ^i^rPirrr^rirrr rrirrr.rnrrfHi

^>

Example No.
[Illustration

No.

Rhythmic Variant

RIGHT HAND

5*133

Example No.

[Exercise No. 6]

r.h.

13 12 ^a^2

=
1 14^2
l.h.

^2^3,24

4 TtilizJS
Z
13
4
a

2^
2

2^3124

5
5

^4

.^

r
1*?H.
2 4

^213,

14
5

535

1
1

'5

4.
4

25 3^24
14

52531

13^2^^ 1413 542

[.^
1?^4

5354 2
lii^Sri*
-
*

5 3

r r r r
BSBBSa.

i2li2

t^rir
frrr^J
3^
14 13 ^
^4
1

1312^42

2 4

1312
5

^^

i^

i3i2;;4a
^
r r r r "24
5354

For Hand Expansion

13" 12~ 54a

18 54,

53

X)

3S^

-__

1^3.

4541,3.

I.

[Exercise No. 4]

:^

^P
^S

y=F

3. For the expansion of the hand to a Third between the first and 'second, and the second and

3-

m ^^

executed, so that the tones will not sound after


For
the time-value of the notes has passed.
arpeggiated chords of short duration the fingers
may be lifted as soon as the keys are played.

l.h.

HE

If the arpeggio sign appears


use of the pedal.
before notes of shorter time-value, the breaking
up of the chord may need to be more quickly

Arpeggiated Chords

5
4]

i15

L^^r
13 542
14,14

" .

n.

l4l352-#-

Example No.

PEDAL STUDY:

Depress the pedal on " two "and raise

[Exercise No. 7l

5
5

-G-

4
J

^^

21

5
-J

l_

G-

5
_J

?r

rzL

5Z=

G-

on "one
LEFT HAND
it

L.

*
J L

L.

'^
-G-

-G-

J L

STUDY, " The Damper Pedal "

J L

-1 1_

:!2=

a
^>-

4
J L

To Be Played with One Finger

Adagio

3E

\A^

^^

:s

:s;

^^

?;

4. In practising Example No. 9 depress the


pedal on count two of every measure,
and release it on one of the following measure,
the pedal lifted exactly as the key is struck for
the next bass note. The chord is struck on three
and it continues *to sound until released with the
next motion of the pedal.
The effect of the Damper pedal, is made very
evident in the Study to be played. by one finger.
The same applies to the flowing bass figure in
By the Spring, and to other studies in arpeggiated
chords which follow in the chapter.
[15]

iE

when

the next bass note

times

known

Damper

5. The series of major scales in twelve Keys, with


repeated as G\>, as in Example No. 9, should
be practised in the three rhythms which previously
have been used with the minor scales, (i-xxiii,
Ex. 6.)

F#

By the Spring,

Gurlitt

6. Observe the pedal marking: The bass note


is struck and the pedal is depressed with the
second note of the broken chord, to be released

is

played.

This

as the syncopated pedal.

is

some[

17]

Nero Strokes His Lyre,

Mortson
7. The arpeggiating of the chords in Nero
Strokes His Lyre serve to give emphasis to the
contrasting short legato theme of four tones which
The upper
occurs twice in the left-hand part.
tones of the chords in the next measure in each
case echo the last two tones of this theme. When
the waved line is on the upper staff only, the chord
tones in

the right

hand are

to

be arpeggiated.

on the lower staff and is carried


to the upper, the lower tone for the left hand is
sounded first and the others follow quickly leading
up to the highest note of the chord. This applies
also to the chords in Aeolian Harp. In these two
pieces is illustrated the close relationship between
arpeggiated chords and the Damper pedal, which
becomes still more important where the chords are
so widely dispersed as to be impossible of performance as solid chords.
If the line begins

50

Example No.
r.h.

The Major Scales, in nine-note lengths

iO

Ftt

Gl,

Dt

Al.

Et

Bl>

l.h.

5
(1)

(4)

51

BY THE SPRING
PEDAL STUDY
CORNELIUS GURLITT
Moderate quasi
2

5,

^m.
^

li.

w
p

s
_1

m j^

dim.

5,

'^1
K
6

"^

-J

s ^ir-f5E

:P^

W^^^^
5

Eeseeej

1
"

i ^

**

^tf

^
^ w IP ^^ W P ^ ^
J

mf-

-gT-^

m
3

^w^ w^^

L.

^^^^

ii

^^

tranquillo

1_

Jn-u- fT2

rTT2
5

allegretto
3_5
i
i

5E

?^

5
2
1

3:

perdendoid

^
I

52

AEOLIAN HARP
543

Lento religiose
^

^^ w mP
4-*

^hih^

4|;

-UF

m 1-^ Ifeti
I

t*

BEETIXI

J If iSJ]^

ig i*f |g
i

ii_

II

!l

J u

IL

II

11^

IL

3
1

W'

iii

'i

Ui^

P
^'^ \^l^.f4^

111
345

-II

II

I
IL

-U

IL

If

in

Arpeg-g-iated chords

p.

Moderate

* H=?
^3
^

^
'i

IL

L-

!fe
-J

ii_

JU

ll_

i piS

_ll_

5:

14

'f-

J' T

f=^

t F^

t^

IL.

te:
-II

i
F

^i

MORTSON

ie
J

LYRE

HIS

P ^
t

Ie

JlIl.

liiJ

^ y=f^

II

Jl

lU
53

1_

_ll

L.

J^ y

Ii-

;^

I iJ^ i

Ii

ji

1>
^'-

-I

^
a

J5=

-o-

II-

-o-

:<*

feNf-^

II

las

II

m^

NERO STROKES

-J

ii

STUDY
MORTSON
8. The practice of Double Sixths has the same
advantages to a student with a small hand that
octave playing has for the normal adult. In each

case the chief requirement


controlled wrist motion.

provided for

is a flexible and well


Both hands are well

in this study.

Allegretto

IjUU ^

t^ ^
P

'^

y (

wczM

.fyj
f

^
^

^3=^
1

^'

^^

i E

N=rHt

leggier

^^^

am

M*m m m

^^

'f

cresc.

'f

i|t

^
mf

r f r

f: ft
1

-^

fL

54

The Hardy Horseman, Czemy

the right and left-hand


exactly together.

9. Scale passages at a rapid tempo for both


hands, form the principal material in this studyThis can be used effectively to develop velocity.

Swing Song, Ehmant


10. The phrases in the right hand are not to be
played in a jerky manner, in spite of the interruption to the rhythrnic flow by the use of the

The

left-hand figure

preceding.

19]

com-

Gavotte, Lanciani

bines with the right-hand part, filling in the


regularity of the rhythmic pulsations, so that .it

may

must be played

Air, Paisiello
12. The left-hand accompaniment is subdued,
and the right-hand part, especially in the Sixths
and Thirds, is to be played smoothly and in a
distinctly legato style.
The Grace notes take
their time value from the notes immediately

[8]

dotted quarter notes.

parts

13. A peculiarity of the gavotte rhythm is that


phrase-groups usually end with the second count
of a measure and begin upon the third count.
There is a melodic movement in the bass that
should be emphasized by a slight pressure; for
example, in measures 1 to 5, this figure consists
of the tones G, A, B, C, B, Fi^ and G.
[ 20]

be played quietly and with smoothness.

Country Dance, Pauer


11. As is frequently the case with country dances,
an accent is placed on the second count of the
measure. In the attack on the three-note chords,

THEY FINALLY AGREE


Moderate
.,

fe

,^ 1^
^^^0

mf

MORTSON

-5_,^

U^
1

'^

-^

THE HARDY HORSEMAN


C.

GURLITT

Op.

117,

No. 32

^^m
k
^
m ^#
CA vJ??^ ^^
? ^ iJTJ^jj^
>

^Et

-;:

^^
^^^-f^rffpfff

[ij|ijj^*^^

stf

i^^

^^P

5^

42-

s=fc

i:
SF

P^'TO

l[r C;

fe U

33^

Ei

^ ^^

COUNTRY DANCE
PAUEE
Vivace

J siirdle

'y

^-

[_ r

Lj

^
I

^
f

E -r-^

57

'ki'l

^~~]

AIR
PAISIELLO

BEETHOFEN

Arr. by

Allegretto

wm m

,5

:?

'

^=^ ^=^

i'

^^

r3

^^
f
r^

r3

r3

r3

V-^

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t^nd

r=T
g:3-^^

^^^ ^^ ^
2

<

kr k;

!/"

^^
J

#g^

'k; L^

1^

<
i

^ ^^

58

2/

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^^

Lj kr

pN

313

>

^ ^>

)OT

ffP

^jr*

iff*

iff*

3
,

L^ l;

sl^

kj L^

GAVOTTE
PIETRO LANCIANI

Allegro moderato

dh i

J ^

4-

n^r

s3

i^

^
3

1^__3

^"cj

dim.

^ M
^

3^2

rT

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f#

Qyr rr

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n^f con eleganza

2*3

m i^
^^^ ^

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fe*

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a?iw.

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rfm. e rail.

IM

PP
"^

59

THE PLACE
,

you know

Would

p3

pla ce

the

^ri

J:

3=

hfc^j^

7"

J ^5:

r
sha-dy

^m

"l~?

v ^ rjr
lu

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^^
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the

twi - light

tt

l;^

iif

be-neath

I?

^^

^w^
rail.

of-ten

f=T

i^

I'i'

SZ^ZIE

r-

tJ-

f tj-

^^

~r

SWING SONG

EHMANT

A.
1

s
5

J-

ff

4 5

5-^

-^f-^

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r r 1^ ^ ^

^^

:^=3^

-^^-^

m
W m
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^^2

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i*

^^tri^-T

r-

5^--

i^

^J.

at ease

sit

"ig-

Con moto

the

#=*

^ rrr

Where

ing-.

dream

5 *

''

^ r r ^^

soft- ly g-leaming-, There

brook-let,

FIoavs the

trees,

1.

:j^

ing?

t]

Turns the mill wheel, call-

a -bove

^
^

fal l -

is

?^^^

W'

ral-ley, whe re

cool nig-ht

the

'Tis

When

love,

f:

S^

LOVE

MENDELSSOHN

Andante

P 7
3

60

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P
a

7:

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g^^y-

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ANDANTE

(From Sonatina, Op.8G, N*?4)

Andante con espre ssione

5^

CLEMENTI
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w SS

2.

3
3

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m
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cresc.

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dolce

62

7^7

HAPPY GO LUCKY
PUPIL

FRANZ BEHR

Allegretto giusto

^^
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JO

iTEACHER

Allegretto giusto

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leggiero

JO

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