ETUDE

ALBUM
A COLLECTION OF ETUDES

PIANOFORTE
SELECTED AND ARRANGED IN PROGRESSIVE ORDER
 Schmidt’s Educational Series.
PIANOFORTE STUDIES.
voi AILBOUT, HANS. Voi. HELLER, STEPHEN.
67. Op. 316. 20 Progressive Velocity Studies 0.76 78a-b. A Compendium of HELLER’S Pianoforte Studies.
Revised, Edited and Arranged in Pro-
BACH, J. S. gressive Order by Arthur Foote. 2 Bks. ea. 0.75
24. 15 Two-Voice Inventions. Edited by Arthur Foote 0.76
HOFMANN, RICHARD.
BICHL, ALBERT. 40. 10 Melodious Etudes from Op. 72 0.75
66. Op. 139. Preparatory School of Technic. 12 Etudes 0.75
91. Op. 140. 10 Octave Studies 0.75 KAISER, ALFRED.
29. Op. 158. 12 Melodious Studies for the development 25. The Weaker Fingers. Exercises and tuneful pieces 0.75
of the left hand- 0.75
39. Op. 156. 12 Melodious Ai-peggio Studies 0.75 KRAUSE, EMIL.
9. 15 Selected Etudes for the development of technic 26. Op. 99. 12 Technical Studies for the equal deve-
and expression 0.75 lopment of both hands 0.75
BOSE, FRITZ VON KRENTZLIN, H. R.
103a-h. Op. 6. 14 Special Studies in modem Pianoforte 07a-c Systematic Finger Technic. Progressive Studies for
Technique. 2 Books each 0.7.6 the Earlier Grades by Carl Czerny. Selected,
arranged and augmented with studies after
CONCONE, J. motives from Czerny. .3 Books each 0.50 . .

96. Studies in Melody and Interprefation. Aiigjnented.

Edited and Arranged by 'I'hoinas Tapper 0.75 . .
LYNES, FRANK.
8. Op. 20. 10 Special Studies 0.75
DANA, ARTHUR. 8 Studies for the development
92. Op. 21. of the 3*’d,
108. Arpeggios in all keys. The four forms of tin- .\r- 4tb. and 5ti» fingers 0.75
peggio with their tingerings for the Pianoforte 0.60

DENN^E, CHARLES.
MAC DOWELL, EDWARD.
0.
4. Op. 39. 12 Studies for the development of technic
37. Progressive Studies in Octave Playing (with ppccial and style
1. 1.50
preparatory exercises) 1.00
116. 75 Eight -bar Studies for the intennediate irrades. MAYLATH, H.
.\dapted. edited and arranged in progressive order 0.76 Melodious Etudes.
55. Op. 163. Edited by Charles
Denn4e 0.75
EGOELING, GEORG.
75. Op. 90. 18 Melodious Octave Studies of Medium MEYER, FERDINAND.
Difficulty l.<H»
70. The Pupil’s First Etude Album. 53 Easiest Etudes 0.75
llOa-b Op. 122. .60 Melodious Studies Hook 1 d 2 e.ich 0,76 71. The Pupil’s Second Etude Album. 34 Easy Etudes 0.75
16a-b. Op. 170. 25 Etudes (without octaves') for technical
and musical development. 2 Books each 0.75 NEUPERT, EDMUND.
60a-b. Op. 176. Pleasure and Process. 35 Descriptive 61. 10 Selected Studies for the development of Expression
Etudes for the earlier grades. 2 Books ea. 0.75 and technic. Arranged and edited by
Charles Denn4e 1.00
FOOTE, ARTHUR.
2. Op. 27. 9 Etudes for musical and technical deve-
PFITZNER, HEINRICH.
lopment 1 .00 13. Systematic training for Polyphonic Playing. . . 0,75
73. Op. 52. 20 Preludes in the form of short technical
Studies 1.00 SARTORIO, ARNOLDO.
116. 36 Two-part Studies Independent Part-playing.
for 21. Op. 214. 14 Melodious Etudes (without octaves) 0.75
Selected, edited and arranged by Arthur Foote 75
SCH’YTT^, LUDVIG.
74. Etude Album. A Collection of Etudes, selected
7. 10 Melodious Etudes from Op. 66 0.75
and arranged in progressive order . . . (X)

FRIML, RUDOLF. TAPPER, THOMAS.

each 0.75 12. Sight Reading and Memory Lessons 0.75
68a-b. Op. 75. Etudes Po6tiques. 2 Books ,

THUMER, OTTO.
GURLITT, CORNELIUS. A Practical Course of
112arb. Velocity and Finger Equality.
41. Op. Velocity Studies for Beginners
186. 0.75
Progressive Studies for the Pianoforte. 2 Bks. ea. 0.75
31. Op. 53 Very first Studies
187. 0.75
51. Op. 16 Studies in Melody and Rhythm
198. .0.75 . . TURNER, A. D.
52. Op. 16 Melodious Studies for more advanced
199. 86. 15 Short Melodious Studies from Op. 30. (Selected
players (A .Sequel to “Studies in Melody and Edited by F. Addison Porter) 0.75 . . .

and Rhythm” Op. 198) 0.75 87. Special Studies for the Pianoforte. (Selected, Re-
101 a-b. Op. 201. Studies in all the Major and Minor Keys. vised and Edited by F. Addison Porter) 0.75 .

2 Books each 0.60

106a-c. Op. 228. Technic and Melody. A Fundamental WILM, NICOLAI VON.
Course for the Pianofort.e. 3 Books each 0.75 77. Phrasing and Agility. 12 Etudes 0.75

ARTHUR P. SCHMIDT
BOSTON LEIPZIG NEW YORK
120 Boylston Street. 1 1 West 36‘*’ Street.

No. 54. Printed In Germany.

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COMTEHTS
N° Page

1 Al. Schmitt Five Finger Exercises 2

2 Carl Czerny From Op. 261 8

3 J.Duvernoy
B. From Op. 120 10

4 J.B. Duvernoy From Op. 120 12

5 J.B. Duvernoy From Op. 120 14
6 H. Maylath A Wrist Study 15

7 H. Bertini From Op. 29 16

8 Arthur Foote From Op. 52 18

9 H. Bertini 20
10 H. Berens From Op. 61 22
11 J. B. Cramer 24
12 A. Biehl From Op. 153 26
13 Arthur Foote From Op. 52 27
14 Stephen Heller From Op. 46 28
15 H. Bertini From Op. 29 29
16 Bach
J. S. 30
17 J. S. Bach From the Two -Voice Inventions 32
'

18 L. Kohler From Op. 173 34

19 A. Loeschhorn From Op. 66 35
20 A. Loeschhorn From Op. 66 38
21 J. S. Bach 40
Vo 22 R. Hoffman From Op. 72 42
?J3 H. Bertini Op. 29 44
34 Adolf Jensen From Op. 32 46
35 L. Kohler From Op. 173 48
36 L. Kohler From Op. 173 50
27 Arthur Foote From Op. 27 52
38 J. S. Bach Prelude from the“WelI Tempered Clavichord” 54
39 Pietro Domenico Paradies Toccata 56
30 Stephen Heller From Op. 45 (A Pedal Study) 58
31 Anton Krause Op. 5 59
33 M. Moszkowski 62
33 H. Bertini 66

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 N21

Five-finger exercises.

Al. Schmitt.

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(a) Five notes up and back; (b) the same, lowering the 3d a half step; (c) the same, lowering also
the a half step; this brings the player to the new key a half step above fa), and the exercise
can be continued indefinitely. Any form of five finge'r exercise can be adapted to this.
da. i?8. 5560-67
8
N2 2
Curl Czerny.
A. Allegro. (Repeat at least 10 times.j (from Op.2<U.)

B. xVllegro. (Repeat 10 times.) 2 2

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In practising, also play each mcasuiv 4 time's.

 15

N2 6
A WRIST STUDY.
H. May lath.
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N2 8
Arthur Foote
(from 20 Preludes, Op. 52)

Copyright 1903 by Arthur P Schmidt

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N2 9
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5560-67
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A.9.S. 5560-67
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Allt'f^ro. J = 132 . J. B. Cramer.

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1. h. legato

ca.IfS. 5560-67 Copyright 1895 by Arthur P. Schmidt

 27
N2 13
RIGHT HAND ALONE
Moderate (Jrjit;) 20 Preludes, Op 52)

AfiS. 5560-B7 Copyright 1903 by Arthur P. Schmidt

28

N? 14 Sfoplieii Heller,
Allegro con trio.
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 29

N? 15 H. Beriiiii.
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N2 16

cft.C8. 5560-67
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N2 17
INVENTION
J. S. Bach
From 15 Two-voice Inventions:

dft.PS. 5560-67 Copyright 1892 by Arthur P. Schmidt

 33

iR.i’S. 5560-B7
34
N2 18
L. Roll lor.
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ca.PS. 5560-67
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N2 19

A. Loeschhorn.

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5560-67
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5560-67
 37

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Allog^ro inodorato. ‘

5560-67
 39

55fiO-67
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N2 21
J. S. Bach
Allegretto grazioso, non troppo vivace (J=ij6)

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sempre lepg. stacc.

5560-67
 41

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N222
Richard Hoffman
Moderato (J=i 04 )
Op. 72
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5560-67
Assigned 1890 to Arthur P. Schmidt
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5560-67
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5560-67
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Allegro non troppo (J-)

m 27 Arthur Foote
Op. 27, N2 3
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The pedal, (syncopated,) is to be taken up and changed at the next mark,

excepting where the usual sign -Jf is used for taking it up.
APS. 5560-67 Copyright 1892 by Arthur P. Schmidt
63
51

N2 28
S. Bach.
PRELUDE. J.

(from tlie Well Tempered Clavichord)

Allegro niolto.

5560-67
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c/l.-PS. 5560-67 TW
 N2 29
TOCCATA Pietro Domenico Paradies.
Molto Alloirro. Revised and fingered by Arthur Foote
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N2 30
A PEliAL STUDY"
Stoplipii Holler,

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TECHNIC AND MELODY Key Circle Exercises
A Fnndnincntal Course for the Pianoforte
by CORNELIUS GURLITT for the Pianoforte
Three Books Op. 228 Each 75 Cents by
Practical simple and essentially musical.
The ^radinf; of the material is so arranged that there is no break in
its easy continuity. Frank Lynes
Three Books :::::: Each
All necessary assistance in the principles of music are given in the text.
No single essential feature of the fundamentals of pianoforte playing 75 Cents
is wanting in its pages.
The compositions for two and for four hands are thoroughly prepared To the teacher who desires material which is so constructed that it
for in the Technical Studies. serves more than a single purpose, ‘‘KEY CIRCLE EXERCISES,” for the
An abundance of text makes the application of the material simple
and full of interest.
piano, will be found especially valuable. While contributing to the teach-
Lists of supplementary pieces, carefully graded, are given in each hook. ing repertoire a distinctly useful group of technical studies, this work is
This Course is being used with unfailing success by thousands of also of value in affording indispensable practice in MEMORY TRAINING,
teachers and students.
The last and ripest work of the author. SIGHT READING, TRANSPOSITION, PRINCIPLES OF MODULATION,
PROGRESSION AND RESOLUTION OF HARMONIC COMBINATIONS.
Sent free; “How to use Technic and Melody” The books contain a comprehensive course of study in scale playing,
An
interesting and instructive booklet for all piano teachers, containing chords, arpeggios and broken chords, double notes, and various touches,
the author’s direct intentions for using the three volumes of “TKCHNIC
AND MELODY” and general useful hints on pianoforte instruction. It is trill, band expansion, part-playing (Including the scales in canon form, etc.).

supplemented with lists of graded teaching pieces, especially selected for

use with this or any other method. Send for descriptive Circular

: ; PIANOFORTE STUDIES BY GEORGE EGGELING : ;

Eighteen Melodious Octave Studies Op. 176. PLEASURE PROGRESS AND

of Medium Difficulty Op. 90 :: Price 51.00
These studies, of medium grade difficulty, serve admirably as prepa-
ration for the more advanced octave studies of KULLAK and others.
While especially designed for octave practice, the musical character
of these studies gives them additional value, particularly to the pupil who
needs not only technical training, but opportunity for study in the art
of interpretation.
Hence, expression, pedal, broad phrasing, and the application of the
octave equally to right and left hands, gives this collection of studies
particular value.
The eighteen studies are- not cast in one mold, but offer a fine variety
of “pieces”. They appeal to the musical seuse, and consequently develop
it, while the technical training is going forward.
Fifty Melodious Etudes in all the Major & Minor Keys
Two Books :: Op. 122 :: Each 75 Cents
Several qualities recommend these Etudes. First, they grade naturally
from a very simple two-part study in C major to a point where a variety
of rhythmic groups and simple arpeggios contribute to produce very ori-
ginal and musical pieces which are no longer than two printed pages.
Each of these Etudes has a distinct purpose. To mention a few in
order will show the character of the collection as a whole. They are:
MELODY STUDIES, SIMPLE CHORD STUDIES, BROKEN SCALE GROUPS,
BROKEN CHORDS ALTERNATING BETWEEN THE HANDS, INNER
VOICE MELODY, SPECIFIC RHYTHM, EAST WRIST STUDIES, THE
SCALE AS A WHOLE, DOUBLE NOTES AND SYNCOPATIONS, and Type
forms like the WALTZ, MAZURKA, and MARCH.
Every one up as a fundamental MUSICAL problem
of these is taken
and tbe treatment is from the MUSICAL side. While chords are freely
employed, the octave is very sparingly used.
These Etudes will be welcomed by teachers who are looking for mu-
sical pieces in which an essential problem is so presented that the student
will gaiu the good of the problem while enjoying the attractive melodic
and harmonic qualities of the composition in which it is incorporated.
Book I contains Etudes in not more than three sharps or three flats.
Book II contains Etudes in all the remaining major and minor keys.
Twenty- Five Etudes (without octaves)
for Technical and Musical Development
Each 75 Cents.
Two Books Op. 170 ::
(Schmidt’s Educational Series No. 16a-b)
The studies of this Opus are intended for introducing the pupil to and
affording practice in third grade work. They are somewhat more am-
bitious in design and difficulty than those of Op. 122. While octaves do
not appear, there is a free use of short chords and of varied rhythms
that constitute many original short pieces. Each study aims at a specific
purpose, some of the problems presented being the following:
Studies in AND PHRASING, TRILL STUDIES (No. 14 is a
RHYTHM
fine example), MELODY STUDIES, FOUR NOTES AGAINST THREE, THE
TURN, INNER VOICE MELODY, CHORD STUDIES (with application to
both hands equally) STUDY OF DOUBLE THIRDS (equally for both hands),
WRIST STUDIES, THE APPOGIATURA, STUDY OF PEDAL EFFECT,
and VELOCITY PASSAGES.
Before beginning this Opus, the student should possess some freedom
and independence in the simpler jiroblems of the items specified above
(which .simpler ]»resentation is afforded by Op. 122).
35 Descriptive Etudes for the Earlier Grades
(Schmidt’s Educational Series No. 60a-b)
Book I :: Book II :: Each 75 Cents
In the attractive little Etudes comprising this Opus the composer has
successfully applied many technical features in the form of short descrip-
tive pieces, each bearing a suitable title and skilfully contrasted. Note-
worthy features of this collection are the strongly marked rhythms em-
ployed and the careful attention throughout to the equal development of
both hands. Fingering, phrasing and all details necessary for enhancing
the value of this work to teachers have been most carefully added. At-
tention has also been given to variety of keys and time signatures. The
following description of the various numbers will show the scope and
character of these studies. They are progressively arranged and cover the
intermediate first and second grades.
At the Brook (Finger Equality in both hands). The Spinning Wheel
(Legato playing-triplets). Dress Parade March (.Scale passages for L. H.-
rhythm). Echoes from Capri, Tarantelle (Velocity), At the Spring (Ac-
cent, etc.). Birds in the trees (Trills), Playing Tag (Legato and Staccato),
The Shepherd’s Song (Broken Chord.s), RIppiing Waves (Melody), The
Chase ((Jontrast of forte and piano). Folk Song (Melody and detached
chords). Berceuse (Sustained Melody), Forest Sounds (Crossing the hands).
Elfin Dance (Staccato).
SEVEN ETUDES
for
the Development of the Hands in Extended Positions
Op. 172 ;; Price 75 Cents
This set of Etudes has a specific purpose; “The Development of the
Hands In Extended Positions’’. These Studies are applicable only in
advanced work —
and well repay the study necessary to perform them
artistically.
The following description of each Etude will show the extent of the
application of the “Extended Position” principle.
No. 1. MELODY. Long, sustained chords, in both hands as accom-
paniment.
No. 2. INNER VOICE MELODY, with extended chords In the left
hand and triplet accompaniment above the melody for the right hand.
This Etude is six pages in length and makes an excellent recital number.
No. 3. BROKEN CHORDS (arpeggiated) in the left hand with
broadly sustained melody in chords in the right hand. Secondary, or
subsidiary melody in the accompaniment.
No. 4. MELODY STUDY (Melody in Soprano, and later in an inner
voice). Accompanying figures as extended broken chords.
No. 5. IN MARCH RHYTHM. Strong and well-sustained theme. Oc-
taves are freely employed and some measures of echo-like grdee notes
are used as embellishment.
No. 6. INNER VOICE MELODY with extended broken chords in
the right band. A most excellent melody study for the left hand.
No. 7. MELODY DIVIDED BETWEEN THE HANDS. The ex-
tended positions are confined chiefly to the left hand. An excellent re-
cital number.
Besides the specific purpose to which each of these studies is devoted,
all are most excellently adapted, to the general study of the pedal.
Phrasing is clearly indicated and sufficient pedal marks and finger-
ings are given to insure an artistic performance.

BOSTON
ARTHUR P. SCHMIDT, LEIPZIG
NEWYORK
::

::

::
120 Boylston Street

11
Lindenstrasse 16
West 36th Street

0m
 *?*'** '

<>
'f -

..
'

Is'%r*

V-
 Schmidt’s Educational Series.
Pianoforte Collections.
Voi. BOHM, CARL. Vol. LYNES, FRANK.
30. Op. 358. Lyric Suite. 6 Compositions 0.75 53. Op. 14. Bagatelles. 10 Melodious Sketches. . . .0.75
49. Musical Echoes. 10 Instructive and melodious Com- 19. Op. 47. A Pleasant Beginning and other tunes for
positions 0.75 little fingers in all the major and min or keys 0.75

DENN^E, CHARLES. MAC DOWELL, EDWARD.

lOOa-b Album of Selected Compositions 2 Rooks , . . each 0 75 . 107. {) Little Pieces i.\fter Sketches of .7. S. Bach) . . . 0.75

EOOELING, GEORG. MEYER, FERDINAND.

Transcriptions from the works of old masters. 76. Christmas Suite 0.75
98. . . .0.75
FRIML, RUDOLF. MOSZKOWSKI, MORITZ.
Op. 35. Suite mignonne. 6 Compositions. .0.75 89. Op. 89. Impressions Masicales. 5 Waltzes.’ , . , . 1.00
3. . . .
— Valse mignonne — Valse
(Valse-prfelnde triste
Valse tendre — Valse Tourbillon.)
GURLITT, CORNELIUS.
93. Op. 172. Miniatures 0.75 THE PUPIL’S LIBRARY.
50. Op. 197. Fireside Fancies. 12 Little Tone Pictures 43a-h. First Series. 2 Books each 0.60
on Five Notes 0.60 44a-b. Second Series. 2 Books each 0.60
11. Musical Sketch Book. 15 Selected Compositions 0.75 . 45a-b. Third Series. 2 Books each 0 60 .

hAndel, g. f. RITTER, G. P.
64. Instructive Pieces. Adapted by Carl Faelten. 27. First Amusements. 12 Pieces on Five Notes. . . 0.75
2 Books each 0.75 SCHYTT^ LUDVIG.
HEINS, CARL. 48. Instructive Recreations. 8 Selected Compositions . 0.75
Op. 270. Six Fancies
7. 10 Study-pieces selected from Op. 66 0.75
15. 0.75
SGAMBATI, G.
HENNING, MAX. 90. Introduction and Etude brillante (Reveil des F^es)
1. Op. 22. 12 Two-Part Fughettas and Fugues (In- by E, Prudent 0.60
troductory to the works of J. S. Bach) . .0.75 .

SMITH, WARREN STOREY.

KAISER, ALFRED. 38a-b. Effort and Pastime. 24 Melodious Pieces in all
57. Arlequinade. Suite of 8 Compositions 0.75 keys. 2 Books each 0 60 .

KRENTZLIN, R. TORJUSSEN, TRYGVE.

59. Op. 19. Village Scenes. 6 Characteristic Pieces . 0.75 63. Op. 3. Norwegian Suite. 6 Compositions , , . .0.75

LACK, THEODORE. WOLF, OSKAR.

47. Morceaux po6tiques. 8 Selected Compositions . .1.00 88. Op. 7. Aphorisms. 6 Compositions 0.75

s ?)

Pianoforte Duets.
BARBOUR, FLORENCE N. GURLITT, CORNELIUS.
105. Rambles in Musicland. First Duets for Pupil & Teacher 0.75 35a-b. Op. 178. Tender Blossoms. 20 Melodious Duets.
2 Books each 0.75
I BODENHOFF, HAROLD. KRONKE, EMIL.
94. Op. 7. Bagatelles. 6 Duets 0.75
69. Op. 66. From Far and Near. 5 Duets 0.75
DENN^E, CHARLES. THE PUPIL’S DUET ALBUM.
6. Op. 18. 5^e Children’s Festival. 10 Easy Duets . 0.75 46a-b. First Series. 2 Books . each 0 60 .

FOOTE, ARTHUR. SARTORIO, ARNOLDO.

58a-b. Op. 400. Pictures from Youth. 12 Melodious Duets.
20. 12 Duets on Five Notes 0.75
2 Books each 0.60

SOCHTING, EMIL.
109. Op. 63. 3 Gipsy Dances 0.75

ARTHUR P. SCHMIDT
BOSTON LEIPZIG NEW YORK
120 Boylston Street. 1 1 West 36‘» Street.

Printed In Germany.
TECHNIC AND MELODY
A FundaiiMMital Course for the Pianoforte Key Circle Exercises
by CORNELIUS GURLITT for the Pianoforte
Three Books Op. 22S Each 75 Cents
by
I'Schniidt's Educational Series No. KHia-o.i
Practical siniplo and essentially musical.
The trradiiin oJ the material is so iirraiif^ed that there is no break in
its easy continuity.
Frank Lynes
All necessary assistanre in the principles of music are piven in the text.
No single essential feature of the fundamentals of pianoforte playin;; Three Books Each 75 Cents
is wantint; in its pajjes.
The compositions for two and for four hands are thoroughly prepared To the teacher who desires material wliich is so constructed that it
for in the Technical Studies. serves more than a single purpose, ‘KEY CIRCLE EXERCISES,” for the
An ahundance of text makes the application of the material simple
and full of interest.
piano, will he found especially valuable. While contributing to the teach-
Lists of supplementary piece.s, carefully graded, are given in each hook. ing repertoire a distinctly useful group of technical studies, this work is
This Course is heing used with unfailing success hy thousands of also of value in affording indispensable practice in MEMORY TRAINING,
teachers and students.
The last and ripest work of tho author. PRINCIPLES OF MODULATION,
SHiJIT READING. TRANSI'O.SITION,
PROGRESSIO.N AND RESOLUTION OF HARMONIC COMBINATIONS.
Sent free: “How to use Technic and Melody” Tlic books contain a comprehensive course of study in scale playing,
interesting and instructive booklet lor all piano teachers, containing
An chords. arpeggio.s and broken chords, doable, notes, and various touches,
the author's direct intentions for using the three volumes of ‘TKCH.NlC
AND MELODY” and general useful hints oa pianoforte instruction. is U trill, hand expansion, part-playing Gncluding the scales in cauon form, etc.).

supplemented with lists of graded teaching pieces, especially selected for

use with this or any other method. Send for descriptive Circular

: : PIANOFORTE STUDIES BY GEORG EGGELING : :

Eighteen Melodious Octave Studies Op. 176. PLEASURE PROGRESS AND

of Medium Difficulty Op. 90 Price .fl.OO 35 Descriptive Etudes for the Earlier Grades
Schmidt's Educatioiml Series No. 7fj) (iidimidt’s Eiiiicatidnal Series No. GOa-b)
These studies, of medium gradi' difficulty, serve adniiraiily as prepa- Book I :: Book II :: Each 75 Cents
ration for the more advanced octave studies of Kl'LLAK and others.
While especially designed lor octave practice, the musical clniracler In file Etudes comprising this Opus tho composer has
attractive little
succe.s.Mfully applied many technical features in the form of short descrip-
of these studies gives tliem additional value, particularly to tlie |iu|>ilwhij
opportunity for study tivi- pieces, each bearing a suitable title and skilfully contrasted. Note-
needs not only technical training, l)Ut in the art
of interpretation. wort liv features of this collection are the strongly marked rhythms em-
lienee, expression, pedal, broad phrasing, and the application of the plovej and the careful attention throughout to the equal development of
octave equally to right ami left iiands. gives this collection of studies hotb hands. Fingering, phrasing and all details necessary for enhancing
particular value. the value of this work to teachers have been most carefully added. At-
Tlie eighteen studies are not cast in one mold, but offer a fine variety tention lias also been given to variety of keys and time signatures. The
of “pieces' Tliey appeal to the musical sense, and consequent ly develop
.
following description of the various numbers will show the scope and
it, while the technical training Js going forward.
character of these studies. They are progressively arranged and cover the
intermediate first and second grades.
At the Brook (Finger Equality in both bandsi. The Spinning Wheel
Fifty Melodious Etudes in fill the .MfijorA .Minor Hoys Legato playing-triplets;, Dress Parade March (Scale passages lor L. H.-
rhythmi. Echoes from Capri, Tarantelle (Velocity), At the Spring (Ac-
Two Books :: Op. 122 Each 75 Cents cent. etc.). Birds in the trees (Trillsi. Playing Tag (Legato and Staccato),
.Several qualities recommend these Etudes. First, they grade naturally The Shepherd’s Song Broken Chords Rippling Waves (Melody), The
i
i,

from a very simple two-part study in C major to a point where a variety Chase (Contrast of forte and pianoi. Folk Song (Melody and detached
of rhythmic groups and simple arpeggios contribute to produce very ori- chords Berceuse i.Sustained Melody Forest Sounds (Crossing the hands),
I. i,

ginal and musical pieces wliich are no longer than two printed pages. Elfin Dance >Staccatm.
Each of these Etudes has a distinct purpose. To mention a few in
order will show the. character of tlie collection us a whole. They are:
MELODY STUDIES. SIMPLE CHORD .STUDIES. BROKEN SCALEGROUPS.
BROKEN CHORDS ALTERNATING BETWEEN THE HANDS. INNER SEVEN ETUDES
VOICE MELODY. SPECIFIC RHYTHM. EAST WRIST STUDIES, THE for
SCALE AS A WHOLE. DOUBLE NOTES AND SYNCOPATIONS, and Type
fonns like the W.ALTZ. .MAZURKA, and MARCH. the Develoiiineiit of the Haiuls in Extended Positions
Every one of these is taken up as a fundameutal MUSICAL problem
Hid the treatment is from the MUSICAL side. While chords are freely Op. 172 Price 75 Cents
cmiiloyed. the octave is very sparingly used.
These Etudes will he welcomed by teachers who are looking for mu- This set of Etudes has a specific purpose “The Development of the;

sical pieces in which aii essential problem is so presented that the student Hands In Extended Positions”. 'These ,'?tudies are applicable only in
will gain the good of the problem while enjoying the attractive melodic advanced work —
and well repay the study necessary to perform them
and harmonic qualities of tlie composition in which it is incorporated. artistically.
Book 1 contains Etiides in not more than three sharps or three flats. The following description of each Etude will show the extent of the
Book II contains Etudes in all the remaining major and minor keys. application of the “Extended Position” principle.
No. 1. MELODY. Long, sustained chord.s, in both hands as accom-
Twenty -Five Etudes (without octaves) paniment.
No. 2. INNER VOICE MELODY,
with extended chords in the left
for Technical and Musical Development hand and triplet accompaniment above the melody for the right hand.
This Etade is six pages in length and makes an excellent recital number.
Two Books :: Op. 170 Each 75 Cents. No. 3. BROKEN CHORDS
(arpeggiated) in the left hand with
(Schmidt’s Educational Series No. 16a-b) broadly su.stained melody In chords in the right hand. Secondary, or
subsidiary melody in the accompaniment.
The studies of this Opus are intended for introducing the pupil to and No. 4. MELODY
STUDY (Melody in Soprano, and later in an inner
affording practice in third grade work. They are somewhat more am- voice;. Accompanying figures as extended broken chords.
bitious in design and difficulty than those of Op. 122 While octaves do . No. 5. IN MARCH
RHYTHM. Strong and well-sustained theme. Oc-
not appear, there is a free use of short chords and of varied rhythms taves are freely employed and some measures of echo-like grace notes
that constitute many original short pieces. Ejeh study aims at a specific are used as embellishment.
purpose, some of the problems presented being the following; No. 6. INNER VOICE MELODY
with extended broken chords in
Studies in RHYTHM AND PHRASING, TRILL STUDIES (No. 14 is a the right hand. A most excellent melody study for the left hand.
line exampleMELODY STUDIES, FOUR NOTES AGAINST THREE, THE
I, No. 7. MELODY
DIVIDED BETWEEN THE HANDS. The ex-
TURN. INNER VOICE MELODY, CHORD STUDIES (with application to tended positions are confined chiefly to the left hand. An excellent re-
both hands equallyi STUDY OF DOUBLE THIRDS (equally for both hands), cital number.
WRIST STUDIES, THE APPOGIATURA, STUDY OF PEDAL EFFECT, Besides the specific purpose to which each of these studies is devoted,
ami VELOCITY PASSAGES. allare most excellently adapted to the general study of the pedal.
Before beginning this Opus, the student should possess some freedom Phrasing is clearly indicated and sufficient pedal marks and finger-
and independence in the simpler problems of the items specified above ings are given to insure an artistic performance.
(which simpler presentation is alforded by Op. 1221.

BOSTON
ARTHUR P. SCHMIDT, LEIPZIG
NEW YORK
:: 120 Boylston Street
Lindenstrasse 16
:: 11 West 36th Street

MMl
PRINTED IN GERMANY.