A FLETCHER towest ld, the Fata E McCain For CY individual and Class Lessons HM ay Jaa 72) BOOK FIVE OMERY MUSIC inc. BUFFALO, N. Y.BOOK FIVE THE LEILA FLETCHER PIANO COURSE FOREWORD ‘The several Books of the Piano Course are numbered consecutively, not to represent the various grades in music, but as a presentation of a continuous course in music education. The Piano Course is designed to meet the requitements of the average pupil, and is graded to allow the average pupil to make sound, steady progress, and to enjoy the immediate satisfactions of fluent reading. The material used in the Course has been tested by actual experience in teaching a large number of students, and the results apparent from its use ate: greater interest in music study, better musicianship, and fewer pupils who discontinue music study through loss of interest or through discouragement. ‘The Study of Music should be a delightful experience. Almost every child comes to his first music lesson with happy anticipation. The use of suitable musical material, logically presented, will undoubtedly advance the pupil’s interest in music, The Piano Course is dedicated to a four-fold purpose: the development of the ability to read music fluently and interpret it artistically, the establishing of a sound and comprehensive piano technic, the nurturing of the creative musical talent, and the fostering of a lasting appreciation of music. MONTGOMERY MUSIC INC. BUFFALO, NEW YORK 14202 Copyright 1954, 1974, 1982 International Copyright Secured Printed in U.S.A. : All Rights Reserved Including Public Performance for Profit Printed on high grade eye-ease, tinted paper Tift printing 64 pp. November, 1068.Contents Foreword Rondo a Capriccio ‘The Soldiers Pass Trepak ‘The Forgotten Melody. Blue Mountain Waltz Blow the Man Down William Tell (Fanfare) Old French Song Allegro A Sailor's Day Melody Wild Rider ‘The Troubadour. Jig Minuet Waltz, Phantom Parade L’Avalanche ‘ Preparation for Octave Playing Carnival : ‘The Washington Post March. Git Along Little Dogies O’er Hill and Dale Waltz in Thirds Butterfly Etude Album Leaf I've Been Working on the Railroad Valse Caprice Minuet Transposition (Keyboard Harmony) PROGRESS PAGES Octave Study The Bells Thistledown Arabesque Listen to the Beat! Chord Capers ‘The String Quartette Musical Terms Certificate of Promotion Beethoven Rebikov Tschaikousky Loeschhorn Traditional ‘Sea Chantey Rossini Tschaikousky Mozart Kohler Rubinstein Schumann Mexican Folk Tune Irish Folk Tune Bach Brahms Fletcher Heller Duvernoy Sousa American Gurlitt Czerny Chopin Grieg American Rubinstein Beethoven Czerny Bertini Duvernoy Burgmuller Fletcher Lemoine Concone 60 61 62Rondo a Capriccio (Rage over the Lost Penny) Allegro vivace a 4 eer Sie feee # ae ===-—— a et — fff — —fttts ot PIAA St sie tet * The thumb plays two notes, G and A. Players with small hands may omit the upper note, A. ©Copyright 1954, 1974 by Montgomery Menic Ine. nt Rian Reserved1 . RK «AF poco rit. |i fon a tempo (pe CoreThe Soldiers Pass Tempo di Marcia W. Rebikov SalePeter Tschaikovsky was born in Russia in 1840. As a child he had instruction in music, but he was educated for a clerical position, and although he was fond of improvising little pieces, he did not decide to make music his life work until he was about twenty- three years old. Recognition of his work as a composer came slowly, but surely. He became one of the world’s foremost com- posers. Songs, operas, ballets, piano pieces, concertos, and sym- phonies flowed from his pen. ‘The Trepak (Russian Dance) presented here is an arrangement for piano from the ballet “‘Casse-Noisette” (The Nutcracker). ‘The well known Nutcracker Ballet is based on a Christmas fairy tale. Among the dances in the ballet there is a Spanish dance, an Arabian, a Chinese, and a Russian dance—the Trepak. ‘The colorful ‘Trepak is a very lively, animated dance; notice that it is marked “molto vivace” Trepak > 2 i Molto vivace > ~~ FG Players with small hands may omit notes in brackets { ] P. Techaikoveky (arranged) Play the re hhand 8va tt it with right jughout.The Forgotten Melody Andante cantabile A. Loeschhorn,10 Blue Mountain Waltz Allegretto ‘Traditional (© COPYMGNT BY MONTCOMERY MUNCIE. RERNATONALCOPYMGT SECUREBlow the Man Down Con moto aVivace a2 1 William Tell FANFAREacy15 Old French Song ars Moderato16 Wolfgang Amadeus Mozart, the wonder child of music, composed this charming Allegro when he was only six years old. And at this age he travelled with his father and his sister, Marianne, to various cities in Europe where the two children gave concerts. Mozart's childhood home was at Salzburg, and here many people came to hear him play and were amazed at his phenominal talent. ‘The ALLEGRO must be played with particular attention to phrasing, It is a delightful, gay composition AllegroL. Kohler Vivace (adapted ) 518 Anton Rubinstein Moderato (adapted) 5 5 et mp cantando19 nf allarganto | cee = debates —— = t ———t ca = 12021 Wild Rider FineAllegretto ae‘raditional Folk Tune “Trish Washerwoman” ei er {© Corot BY MONTOQNERY MIC INE TERNATIONAL COFPmaiy REGED. Ls mana RESEND 5 t t i eteJohan: snes Brahms (adapeed)a ale ae Doe sSlurred staccato notes lose only one-quarter of their time duration. Written: f* ¢ played: YP YF T In the “‘cantabile” (on the second page of PHANTOM PARADE) full use should be made of the pedal to hold and to connect the tones, so that the hand can move freely about the key- board without losing the legato effect. Phantom Parade for Left Hand Alone Leila Pletcher Allegretto {= COFYRGHT BY MONTCOMERY MUSIC NE TERNATIONAL Coa SECURED ALL Rs RESENDA little slower cantabile 31L’Avalanche Stephen Heller Allegro vivaceon a atempa 2 5A | risoluto Players with small hands may omit note in brackots [|2d Preparation for Octave Playing 1. In this exercise, the 1st finger plays, the 5th finger is silent; do not play the notes printed in broken outline. ‘The hand is extended over the octave so that when the Ist finger plays, the 5th finger touches the surface of its key. Play slowly; hold each note long enough to look at the hand and see that the 5th finger is touching its key. The wrist and arm should be held loosely. (The tones produced will be non legaio, detached.) 2. The above procedure is now reversed, as the 5th finger plays and the Ist finger merely touches the surface of the key. The wrist must be loose, and the thumb neatly over its ke} cee: #4 Scales in Octaves 3. Play non legato, wrist loose, hands separately; later, hands together. 4. Play the Scale of C Major in octaves using staccato touch. (Later, practice also using legato touch; holding the note, then moving swiftly to the next note in the scale so that there will be the least possible break in the legato.) 5. The 4th finger is usually used on black keys, in place of the 5th finger. (ues +4 a i —" |} e aa on or WileCarnival J.B. Duvernoy (adapted 5 Allegretto . 3 i ue a 3 a4 i itt | eeJohn Philip Sousa, the renowned American band leader and composer, wrote a very large number of colorful, stirring marches. He also wrote several comic operas, suites, and dances, and many songs, but he is best known for his popular marches. ‘These won him world wide farne, and he became known as the March ing. Sousa was born at Washington, D.C., in 1854. He spent many years with the Marine Band, first as a player and later as leader of the band. In 1892 he formed the Sousa Band, and with it made frequent tours through the United States and Canada, several tours in Europe, and one tour round the world. The Washington Post MARCH John Philip Sousa * Players with small hands may omit the lower note of the octaves, and play the upper note as written, not 8va; the chord in the treble in the 7th measure should also be played loco (as written)Git Along Little Dogies In song style a American Cowboy Song,O’er Hill and DaleAllegretto Waltz in Thirds Carl Czemny 41Butterfly Etude Frederic Chopin Allegro Vivace (adapted) 5 bes a twee sta 3 z Pp lagiero { cory BY NorrcoweRY music Ne: IEREdvard Grieg, the renowned Norwegian composer, was born at Bergen in 1843. He studied music at Leipzig Conservatory, and at Copenhagen. While on a visit to Italy, he met the great Franz Liszt, and they became well acquainted. Grieg lived his entire life near Bergen, travelling occasionally to other cites where he appeared in concert playing his own compositions. He gave concerts in London several different times, and in 1894 received the honorary degree of Doctor of Music at Cambridge University. His music reflects the clear, northern color of the pine forests, the mountains, lakes and fiords of his beloved Norway. Album Leaf Edvard Grieg (adap, sostenuto £ 2 L$» # 9 aI’ve Been Working on the Railroad ‘American Song Allegret! to Cantabile pee eth Led es aes tf 4 ee poco eresc.BP (BH over)Anton Rubinstein, one of the world’s greatest pianists, was born in Russia in 1830, and gave his first public concert when he was nine years old. ‘In 1840 he made a concert tour, journeying to Paris with his music teacher. Rubin- stein was a very facile composer, his writing characterized by broad, sweeping melodies. His life was a brilliant succes- sion of concert tours, Highest honors were bestowed on him in his native country. In 1862 he founded the St. Petersburgh Conservatory. He toured America in 1872. Valse Caprice Anton Rubinstein (adapted )49 ‘The left hand melody part must be very legato. Memorize the part with the correct fingering, s0 that you can play it without looking at. the hand. You will then be able to give more atten- tion (o aecuraey in playing the right hand chord leaps. This easier arrangement of the chords may be substituted in line 1 and line 3 of this page: Easier: ; i50 “s ] # tt jt “il | 5 eae Pree le z = L = = 2 3 2 Pi dE o : + : ie $ | | I % ti we “| | ho \na TT 4h i La fle | AR Me ft phTempo di Minuetto ae a 8 9 L. van Beethoven= TRANSPOSITION (KEYBOARD HARMONY) Follow the instructions given in Book ‘TWO, Book THREE, and Book FOUR for Trans- position at the Keyboard, STUDY No. 1 - Banjo Plink-a- Plunk (tight hand over) Study No. 1, Banjo Plink-a-plunk, is in the Key of G Major. As you transpose, write the Name and the Key Signature of each Major Key in which you play the Study: Name of Key: Key - - — Signature: == = = ——— | o— 7 = : Name of Key: Key —— — Signature: = ———— o STUDY No. 2 + Cadence = = Write on the Key Chart the names of the Major eys in which you play Study Noa)" PS I Iv v I No.2) KEY | Opginal CHARTSTUDY No. 3 - Theme 5 Melody from Mozart “The Marriage of Figaro” ‘The two notes used in, the =F short trill at the end of this Study are. the Tonic (Use any fingering and the Leading-note of ‘on the trill) the Key. Notico that the $ —] Leading-note is a half-step emitone) below the Tonic. ‘The three-note broken chord series which begins on the last beat of the 4th measure, is the Tonie triad and its inversions in broken chord form, ‘The fingering for the triad is the same in all Keys: Right hand: 1-3-5, 1-2-5, 1-3-5. Left hand: 5-3-1, 5-8-1, 5-2. Be sure you know this fingering before transposing this Study. Write the Name and the Key Signature of each Major Key in which you play the Study: {@corrmcac Hy MONTEOUENY MSC ME. MTERNATINAL COANE SECURED ALL RTS REEAVEDPROGRESS PAGES The Progress Pages present study examples in the various fundamentals of piano playing — scale and chord playing, passage playing, graces, thirds, sixths, etc., — in all of which instruction should begin early and be continued systematically. By constant association the playing skills are most readily advanced, making the study of music more interesting, more pleasurable. The Progress Pages are intentionally not easy, but offer a measure of challenge. Each page will be assigned by the teacher, as the student is ready to undertake the study of that particular page, which should be learned by the student, with help from the teacher only where necessary. Each page, once begun, should be practised carefully so long as the book is still in use, with the goal of a continuing improvement. The instructor will supply guidance, reviewing the student's performance of the pages from time to time. The student, by cultivating a listening attitude while playing, is assured of real progress. 1. Four Laps "Round ‘The study presented below is most important. Practise it DAILY. When playing octaves, the elbow must remain free and flexible. This is absolutely essential. Use a bouncy wrist staccato for the study below, but do not exaggerate the movement; use just enough wrist to produce, with ease, lightly detached octaves—with both upper and lower notes of the octave sounding evenly. When playing octave passages on white keys, the tip of the thumb may be bent inward slightly to avoid striking two keys. For octave passages containing both white and black keys, play a little farther in on the white keys, in order to shorten the distance in moving to and from the black keys. On black-key octaves, the player may use fingers 1 - 4, or 1 - 5. Based on Czerny Study Practise at three different speeds—slow, medium, and faster. (Arr. by Leila Fletcher) = 5S * (2nd time tol Tast lap) ies 1ap) | (last lap) = 5s2. Octave Study Allegto moderato 5 2 C. CZERNY (abridged) 55 ~ sea eee ae # 5 a® | copra MonoMeR” MUSIC NE KTERUATONAL CORIO SECUED. AL RONTSREBERVD. 55Shape the hand over the interval of a sixth and play with neat but flexible precision. Use wrist staccato. Memorize the study while it is new. Suggestion: Learn this study in two parts, as if it were two studies, the first eight measures, a study in sixths for right hand, and the last eight measures, a study in sixths for left hand. 3. The Bells Allegretto ' H, BERTINI (Ar) Pp dole lege. - rhlegato 3 1 { Eeovlor BY MONTEOMERY AUC INE ETERNATIONAS COFYRGNT SECURED. AL37 Play this arpeggio study softly, flowingly, with no unplanned “bumps” or accents, the arm loosely balanced and free from the shoulder, the thumb moving smoothly under the hand. Practise also using this rhythm throughout: Jd 4. Thistledown Allegretto J. B, DUVERNOY (Arr) 54 4 5 242, ‘2 \ 4 Bs 4 2 5 4 4 = feti 7 ate Ped. simile Sagi asat poco a poco crese. < Meese 4 538 The TURN (0 called because the notes turn around the principal note) is a musical embellish- ment (decoration). In the first measure of ARABESQUE there are two turns; the first turn embellishes the note C: D-C-B-C, and the second turn embellishes the note F: G-F-E-F. Play the turn very evenly. You will find it easy to play this very lovely musical embellishment evenly and clearly if you always “play through” to the note following the turn without the slightest hesitation. To do this, you must think very definitely of the note that follows the tun. For example, the first turn in ARABESQUE is followed by the note F: Think and play D-C-B-C-F. 5. Arabesque FP, BURGMULLER Moderato aa ™P eggiero e legatoIn LISTEN TO THE BEAT: we have the five-note tum—the principal note is played three 9 times. The five notes of the turn in the first measure are G-A-G-F#-G. These five notes must be played in time with the beat of the waltz. The turn here occurs on the third beat of the measure; be sure to play through to the note that follows on the first beat of the next measure without the slightest hesitation. 6. Listen to the beat! ie depat (Trill and Turn Waltz) LEILA FLETCHER oregano erases (RH. over) $ 5 + else ESC ee‘The chords in this study are, with few exceptions, the well-known triads and their inversions. The fingering, therefore, has been omitted for the most part, so that the player may supply it automatically, from knowledge already acquired. Shape the hand swiftly over the chord, and play each chord from close to the key surface; feel as if plucking the chord upward, with a brittle staccato brilliance. 7. Chord Capers Allegretto . H. LEMOINE‘Use no pedal in this expressive study in passage-playing. (As you are aware, the instruments of 0% the string quartette do not have pedal to sustain the tone.) Play with a smooth, unbroken legato; this means correct fingering from the beginning! Only with the right fingering can speed with sureness be attained. Memorize the downward plunging passage in the first four measures with the fingering while it is new. 8. The String Quartette J, CONCONE aye ' + CONG poco crese. Poco cresc.Musical Terms Terms Abbreviation|| Terms Abbreviation Accelerando: Gradually increasing speed accel. Misterioso: Mysteriously. Adagio: Very slowly. Moderato: Moderate time Ad libitum: At the discretion of the performer Molto: Mucb. Miitee cod expression) BRD. |) sesreado: Dying.ewer ae Agitato: In a hurried, agitated style. Sivens: Neuen, Alla: In the style of Neat nel Ally marcia: in march sive, « marching Nou Egger NGA weet Allargando: Gradually broader, louder and Pordendosi: Losing itself, dying ewer. sower allarg. || Piano: Soft b Allegretto: Rather fast Pianissimo: Very solt pe Allegro: Fast, lively, cheerful Pilu: More Andante: Rather slow, gontly. Piu mosso: More motion, faster Andantino: A little less slow than Andante Poco, or Un poco: A litle. Animato: Animated, Poco « poco: Little by litle A tempo: In time. at original speed. Presto: Very fast. Brillante: In « brilliant, showy style. Prostissimo: As fast os possible. Contabile: In a sustained, singing style Rallentando: Gradually slower rall. Con: With. Ritardando: Gradually slower fitaed. Con moto: With motion. or vit. Con espressione: With expression. cites tee (Cea cyi we riten, or vit. Crescendo: Gradually louder crese. || Romanze: Romance Da Capo: Return to the beginning, and play Scherzando: In a sprightly, playful style. to Fine DiC er ee, Da Capo al Fine: (the same as Da Capo) ee as Dal Segno: Play again from the sign D.S._ || Sense: Witton, Diminuendo: Gradually softer dim, || Sforando: Forced: « sudden accent sfz Foie: Swostly Similo: In the same manner. Dynamics: The different degrees of power Smorzando: Smothered, dying away smorz. applied to notes—pp to ft. Sostenuto: Sustained ten. Expressivo: With expression espress. || Sotto voce: In an undertone (softly) Fine: The End. Staccato: Short. detached, the opposite of Forte: Loud i legato stace. Préctisiimo:’ Very loud jf |] Tepe primo: Resume ovginal speed Tempo Grazioso: Gracetully. Largo: Very slow, broad Legato: Smoothly, connectedly. Leggiero: Lightly Maestoso: In a broad, majectic style (slow). Marcato: Marked Meno: Less. ‘Mezzo forte: Moderately loud Mezzo piano: Moderately soft lege. mare. mf mp ‘Tempo di Valse: In waltz time. Tempo guisto: In strict time. Tempo rubato: Robbed time; lengthening certain notes at the expense of others, for expression, Tranquillo; Tranquilly. Tre corde: Release the soit pedal Una corda: Soft pedal. Vivace: Lively. Vivo: Very livel nimated, fast cand fast.Certificate of Merit- This certifies that has successfully completed BOOK FIVE The LEILA FLETCHER PIANO COURSE and is promoted to BOOK SIX The LEILA FLETCHER PIANO COURSE TEACHER