Muzio Clementi's Introduction to the
Art of Playing on the
Piano Forte
Mutopia ǀProject
ǀ ǀ
Typeset using LilyPond © 2014 by Javier Ruiz-Alma — Mutopia-2014/02/18-1938 Creative Commons Attribution ShareAlike 4.0 International License — free to distribute, modify, and perform
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Acknowledgements for this edition My gratitude to the LilyPond User Forum and the Mutopia Project, for making this project possible; especially: Nicolas Sceaux, Chris Sawer, Glen Larsen, Mats Bengtsson, Mike Solomon, Jakob Lund, Janek Warchoł, Keith OHara, Nick Payne, David Nalesnik, Reinhold Kainhofer, David Kastrup, Shane Brandes, Xavier Scheuer, Eluze, Robin Bannister, Phil Holmes, Thomas Morley, Federico Bruni, Felix Janda, Bas Wassink, and Edward Neeman.
Table of Contents Music Notation Preliminaries Clefs The Scale, or Gamut Intervals Tenor, Counter-tenor, and Soprano clefs explained Figure, Length, and the relative Value of Notes and Rests Time and its Divisions Sharps, Flats, etc. Various other marks. Abbreviations Style, Graces, and marks of Expression, etc. Turns, Shakes, and Beats, explained Major and Minor Modes or Keys; vulgarly called Sharp and Flat Keys. Explanation of Various Terms
4 4 5 6 7 8 9 11 13 13 15 17 20 21
Fingering Preliminary Directions Scales in all the Major keys, with their relative Minors General Remarks on the foregoing Scales Extensions and Contractions etc. Examples of fingering for the right hand. The left hand.
23 23 28 29 30 33
Preludes and Lessons Lesson I Prelude in C Major Away with melancholy: by Mozart Lesson II Aria Lesson III Air, in Atalanta, by Handel Lesson IV Air, in Saul, by Handel Lesson V Dead March, in Saul, by Handel Lesson VI Allegro by Corelli Lesson VII
34 34 35 35 36 38 40
Prelude in A minor Gavotta by Corelli Lesson VIII Prelude in F Major Air, in Judas Maccabeus, by Handel Lesson IX March, in Judas Maccabeus, by Handel Lesson X Sarabanda, by Corelli Lesson XI Giga, by Corelli Lesson XII Arietta, by Mozart Lesson XIII Minuet and Trio, by Mozart Lesson XIV Le Réveilmatin, by Couperin Lesson XV Prelude in D minor Larghetto, by Scarlatti Lesson XVI Allemanda, by Corelli Lesson XVII Sarabanda, by Corelli Lesson XVIII Prelude in G Major Ah vous dirai - je maman Lesson XIX Triste Raison Lesson XX Fal, lal, la. Air in the Cherokee. Lesson XXI Larghetto, by Pleyel Lesson XXII Arietta Lesson XXIII German Hymn, with Variations by Pleyel Lesson XXIV Andantino, by Dussek Lesson XXV Allegro, by Handel Lesson XXVI Minuet in Samson, by Handel Lesson XXVII God Save the Emperor, composed by Dr. Haydn Lesson XXVIII Rondo in the Gipsy stile, by Dr. Haydn
43 43 44 44 45 47 48 50 51 53 57 57 59 61 62 62 63 64 65 66 68 71 73 75 77 78
2
Lesson XXIX Prelude in E minor Tambourin by Rameau Lesson XXX Prelude in B flat, Major Minuetto by Scarlatti Lesson XXXI Lindor - an Air Lesson XXXII Minuet and Trio, By Mozart Lesson XXXIII Gavotta in Otho, by Handel Lesson XXXIV Andante with Variations, by Cramer Lesson XXXV Prelude in G minor Allegro, by Scarlatti Lesson XXXVI Prelude in D Major Gavotta, by Corelli Lesson XXXVII Minuet in Ariadne, by Handel Lesson XXXVIII March in the Occasional Oratorio, by Handel Lesson XXXIX Waltz, by Beethoven Lesson XL Allegro, by Corelli Lesson XLI Prelude in B minor Giga, by Corelli Lesson XLII Prelude in E Flat Major Rondo by C.P.E. Bach Lesson XLIII Prelude in C minor Minuet, by Scarlatti Lesson XLIV Prelude in A Major Andante Allegretto by Paradies. Lesson XLV Prelude in F# minor Adagio by Corelli. Lesson XLVI Prelude in A flat Major Slow March by Couperin. Lesson XLVII
86 86 89 89 91 92 94 96 100 100 104 104 105 107 109 111 115 115 117 117 124 124 126 126 129 129 131 131
3
Prelude in F minor Allegretto by Couperin Lesson XLVIII Prelude in E Major Polonoise and Minuet, by Sebastian Bach Lesson XLIX Gavotta, by Corelli Lesson L Prelude in C# minor Minuet, by Dr. Haydn
133 133 135 135 138 139 139
MUSIC NOTATION
PRELIMINARIES All musical sounds are expressed by certain characters, called notes, which are named from the first seven letters of the alphabet: A, B, C, D, E, F, G. The Stave
contains five lines, and four spaces: the lowest line is called the first.
The notes are placed on the lines, or spaces above, or under the stave and the additional, called LEDGER lines are for the higher and lower notes.
CLEFS In order to determine the PITCH of musical notes, certain signs, called CLEFS or CLIFFS have been invented, which are set at the beginning of the staves. There are five in general use. The Bass clef, on the 4
th
line
ª
The Tenor clef on the 4
d
The Counter-tenor clef on the 3 line And the Treble clef on the 2
nd
line
th
line
The Soprano clef on the 1
The Treble and Bass clefs are chiefly used for the Piano Forte.
st
line
MUSIC NOTATION
5
THE SCALE, OR GAMUT Shewing the position, and name of the notes.
Treble
Bass
g a b c d e f g f g a b c d e f g a b c d e f abcde f gabcde f ª g a b c d e f g
Let the PUPIL now strike the notes on the instrument; taking notice, that the first LONG key, on the left hand, serves for the first F; the second LONG key for G; the third for A; and so on: making no other use, at present, of the SHORT keys, than as GUIDES to direct the eye; by observing, that between B and C, and between E and F, there are no SHORT keys; which places in the scale are distinguished thus .
⁀
Remark on the foregoing Scale. The first EIGHT notes in the treble-stave from G to G, are the SAME as the corresponding EIGHT notes, perpendicularly under them in the bass-stave, both in NAME and SOUND ; they are played, therefore, on the SAME keys. As a help to memory; let the Pupil contemplate the notes, SEPARATELY, on the lines, and spaces; beginning by the FIVE lines. E E G Bass Treble C A C D A F G B F A C E G A C E B D F
ª F F D Treble Bass D B B A C E G G B D F A C E G G B D F ª
Exercise for treble notes:
Exercise for bassnotes:
ª
N.B. Let the Pupil FIRST be familiarized with the notes, by READILY naming them; and then find them out as on the instrument.
READILY
6
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
INTERVALS An INTERVAL is the distance, or difference between two sounds in point of GAVITY or ACUTENESS. The least of our INTERVALS is called a semitone, or half-tone: it is the INTERVAL, in the NATURAL scale, between E and F; and between B and C. Ex:
ª
E F B C progression of the OTHER notes in the semitones or a whole note.
The
REGULAR INTERVAL of two
Example of the NATURAL or DIATONIC scale.
ª whole tone
semi-
whole
which is also called
whole
whole
tone
tone
tone
tone
NATURAL,
DIATONIC
whole tone
semitone
scale, is by an
The INTERVAL between C and D, between D and E, or between any two CONTIGUOUS notes, in the scale, is call a SECOND: the INTERVAL between C and E, or between D and F, etc: is called a THIRD; and so on. Example of INTERVALS
ª
2
d
The INTERVAL of an 8
3 th
d
4
th
5
th
6
th
7
th
8
th
is commonly called an OCTAVE.
N.B. The nature, and name of the INTERVALS remain the same, whether the single notes be played whether two, or more, be struck TOGETHER: the former is properly called MELODY; and the
SUCCESSIVELY, or latter, HARMONY.
Example of the latter.-
The notes thus taken TOGETHER are also called CHORDS; the succession of which, played from certain figures set over a bass, according to a system of rules, is denominated THOROUGH-BASS.
MUSIC NOTATION
7
TENOR, COUNTER-TENOR, AND SOPRANO CLEFS EXPLAINED The notes written thus:
are played as if written thus:
c d e f g a b c d e f g e f d b g a b c ß Bass ª Tenor
c d e f g a b c d e f g e c f d b d b g c Bass ª Counter-tenor
when written thus:
are played thus:
c d e f g a b c d e f g a f d b g f d b c Treble Soprano
when written thus:
are played thus:
By which it is evident, that the Tenor-notes must be played one fifth HIGHER than the Bass-notes: the Counter-tenor notes, one seventh HIGHER than the Bass-notes: and the Soprano-notes, one third LOWER than the Treble-notes. It is now proper to take notice, that the bass-clef is also called the F-Clef, as it indicates by its position where F the tenor, counter-tenor, and soprano-clefs are called C-clefs, because they the note F lies:
ª
Tenor: determine the place of C:
C being placed on the line where G is found
Counter-t:
C Treble:
G
Soprano:
C
and the treble-clef is called the G-clef,
8
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
FIGURE, LENGTH, AND THE RELATIVE VALUE OF NOTES AND RESTS Notes
Rests
Semibreve,
minim,
crotchet,
4 Crotchets
16 semi-quavers 32 demisemiquavers
DOT
semiquaver,
Is equal in length of time to Which are equal to
after a note, or rest, makes the note or rest half as long again. Ex:
demi-semi-quaver
Which are equal to
8 Quavers
A
quaver,
One Semibreve 2 Minims
¸
Which are equal to
Which are equal to
is equal to a minim and a
is equal to and so on: by which it is evident, that the DOT to crotchet; or to three crotchets, and so on: a minim is equal to a crotchet; and the DOT to a crotchet is equal to a quaver; etc: When a second dot is added to the first, the second dot is considered as the half of the first; therefore a double-dotted Crotchet thus
is
equal to a crotchet, quaver, and semiquaver; or to seven semiquavers. Let us farther illustrate this by the mark, called a TIE, made thus
which, when placed between two
notes of the SAME pitch, binds the second to the first; so that only the first is struck, but the finger must be held down the full length of both. It is therefore indifferent whether we write thus
and
is the same in effect as
or
or
MUSIC NOTATION
9
TIME AND ITS DIVISIONS
The BAR, made thus
divides a musical composition into EQUAL portions of time.
TIME is divided into two sorts; COMMON and TRIPLE; and of which is either SIMPLE or COMPOUND: and the character or sign, which denotes it, is placed at the beginning of every composition, after the clef.
SIMPLE common time, when marked thus
or
denotes, that each bar contains one
semibreve, or its equivalent.
Example
or
the bar contains one minim, or its equivalent. 42 42
When marked thus
Example
Four sorts of COMPOUND common time explained: st
1 sort d
2 sort d
3 sort th
4 sort
12 8 86 12 4 46
containing 12 quavers in a bar, or their equivalent six quavers in a bar, or their equivalent 12 crotchets in a bar, etc.
6 crotchets in a bar, etc.
The two last sorts are very seldom used in modern music. SIMPLE triple time explained.
23 43 83
three minims in a bar, or their equivalent three Crotchets in a bar, etc: three quavers in a bar, etc:
10
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
COMPOUND triple time explained.
49 89
nine crotchets in a bar, etc: nine quavers in a bar, etc:
COMPOUND triple time is seldom used in modern music. N.B. The contents of every bar, in common time; whether SIMPLE, or COMPOUND, may be divided, (by beating or counting) into four, or into two equal parts: and in triple time; whether simple, or COMPOUND, into three equal parts. The figures, which mark the time, have a reference to the SEMIBREVE; the LOWER number, showing into how many parts the SEMIBREVE is divided; and the UPPER number, how many of such parts are taken to fill up a bar. 2 denotes, that the SEMIBREVE is divided into four parts, namely, four crotchets; and that two of For example 4 them are taken for each bar: likewise 83 indicates, that the SEMIBREVE is divided into eight parts, namely, eight quavers; and that three of them are adopted to compleat a bar. The figure of 3 placed over three crotchets, quavers or semiquavers thus
3 3
or
3 3
or
3 3
(which are called triplets) denotes, that
the three crotchets must be performed within the time of two common crotchets, or of one minim; the three quavers within the time of two common quavers, or of one crotchet; and the three semiquavers within the time of two common semiquavers, or of one quaver. N.B. The easiest way is to consider them all as three to one, and to beat or count the time accordingly; that is, to beat the first of every 3. (N.B. SCARLATTI, and others have written three demisemiquavers to a quaver; and three semiquavers to a crotchet in some of their pieces.) The figure of 6 over quavers or semiquavers, means that they are to be performed within the time of four of the same kind; which is a similar case to the preceding one. The figures 5, 7, 9, 10 etc. follow the same rule.
MUSIC NOTATION
11
SHARPS, FLATS, ETC.
The SHARP placed before a note, raises it a semitone or half-tone. Let us now observe a scale of semitones, called the CHROMATIC scale. Ex:
The intervals of the contiguous notes are all semitones.
N.B. The LONG keys of the Piano-Forte, or Harpsichord, are commonly called the NATURAL keys, tho'they ocassionally serve for SHARPS and FLATS; and the SHORT keys, are called SHARPS and FLATS, being only used for SHARP and FLAT notes. Now if a
SHARP
be placed before C, thus:
the note is called C
SHARP;
and it is found on the
instrument between C NATURAL, and D NATURAL; being one of the SHORT keys: D SHARP is the SHORT key between D, and E; but between E, and F, ther is no SHORT key; nor is it wanted: for the INTERVAL between E and F, is but a semitone; and therefore when we want E SHARP, we strike the key generally called F NATURAL. F SHARP will be found between F NATURAL, and G NATURAL: G SHARP between G and A NATURAL: A SHARP between A and B NATURAL: and B SHARP is under the same predicament as E SHARP; we therefore strike C NATURAL for it. The flat placed before a note, lowers it a semitone or half-tone: and if the note is a B, to which the FLAT is prefixed, it is then called B FLAT; and it is found between B NATURAL, and A NATURAL, being one of the SHORT keys. =====General rule: every FLAT is found by going one semitone LOWER; that is, toward the left-hand: and every SHARP, contrariwise, by going one semitone HIGHER; that is, toward the right-hand. The double SHARP raises the note TWO semitones; and therefore, if it be F double SHARP, we strike G NATURAL; etc. The double FLAT lowers the note TWO semitones; and therefore, we go as much to the LEFT for a double FLAT, as we did to the RIGHT for a double SHARP. The NATURAL takes away the effect of a SHARP, or a FLAT; whether single, or double. And , or , REINSTATES the single sharp, or flat.
The Pupil must by this time have observed, that
by the SAME key as
is struck by the
SAME
key as
and
etc.
Now, the inconveniency of charging to memory with the VARIOUS uses of the SAME keys, is but small; when compared with the impracticableness of performing on an instrument, furnished with keys, PERFECTLY corresponding with every flat, and sharp, single or double, which composition may require: a method therefore, has been adopted in tuning, called TEMPERAMENT, which, by a small deviation from the truth of every interval, EXCEPT THE OCTAVE , renders the instrument capable of satisfying the ear in EVERY key. When a SHARP is placed close to the clef thus
it affects every F throughout the piece; except where
the sharp is contradicted by the natural. N.B. The same rule holds, when there are two or more sharps at the clef; every one affecting its corresponding note.
12
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
When a FLAT is placed by the clef
it affects every B throughout the piece; except where the flat is
contradicted by the natural. N.B. The same rule holds, when there are two or more flats at the clef; every one affecting its corresponding note. When a sharp, flat, or natural is prefixed to a note, in the course of a piece, it affects all the following notes of the SAME NAME , contained in the SAME BAR : it is then called an ACCIDENTAL sharp, flat, or natural.
st
1
Ex:
d
2 Ex:
3
d
is played as if written thus
as if written thus
Ex:
as if written thus
which abbreviations, are a modern improvement. The foregoing RULE extends even to the first note of the subsequent bar, when the affected note is the last of one, and first of the next.
Ex:
as if written thus
And the same with flats and naturals. The order of SHARPS at the clef. The order of FLATS at the clef.
th
descending by a 4 and th ascending by a 5 th
ascending by a 4 and th descending by a 5
MUSIC NOTATION
The pause expects some
EMBELLISHMENTS
the SILENCE.
VARIOUS OTHER MARKS.
or
13
renders the
NOTE
longer
AT PLEASURE
; and in certain cases, the composer
from the performer; but the pause on a rest
only lengthens, AT PLEASURE,
The SIGN or REPEAT is a reference to a passage, or strain, to which the performer is to return: the Italian words, AL SEGNO or DAL SEGNO , denote such a return. marks the end of a strain; or the conclusion of a piece.
The double bar The DOTTED bars
denote the repeat of the foregoing, and following strain.
N.B. The second part of a piece, if VERY LONG, is seldom repeated; notwithstanding the DOTS.
When the bars are marked thus to be repeated.
or
then the strain, only on the side of the DOTS is
ABBREVIATIONS
Ex:
Ex:
Ex:
Ex:
Ex:
thus
3
6
Ex:
to be played thus
Ex:
thus
thus
thus
3 3
thus
played thus
6 6
14
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
The
ITALIAN
segue
Tremando, or trembling:
Ex:
thus
word, Segue; means, it continues, or follows:
Ex:
Ex:
thus
thus
MUSIC NOTATION
15
STYLE, GRACES, AND MARKS OF EXPRESSION, ETC.
The best general rule, is to keep down the keys of the instrument, the FULL LENGTH of very note; for when the contrary is required, the notes are marked either thus: DISTINCTNESS,
called in ITALIAN, STACCATO; denoting
and SHORTNESS of sound; which is produced by lifting the finger up, as soon as it has struck the
key: or they are marked thus
which, when composers are EXACT in their writing, means LESS
staccato than the preceding mark; the finger, therefore, is kept down somewhat longer: or thus
which means STILL LESS staccato: the nice degrees of MORE and LESS, however, depend on the CHARACTER, and of the piece; the STYLE of which must be WELL OBSERVED by the performer. The notes marked thus
PASSION
called
LEGATO
in Italian, must be played in a
SMOOTH
and
manner; which is done by
CLOSE
keeping down the first key, 'till the next is struck; by which means, the strings another.
VIBRATE SWEETLY
into one
N.B. When the composer leaves the LEGATO, and STACCATO to the performer's taste; the best rule is, to adhere chiefly to the LEGATO; reserving the STACCATO to give SPIRIT occasionally to certain passages, and to set off the HIGHER BEAUTIES of the LEGATO. This mark
prefixed to a chord
signifies, that the notes must be played SUCCESSIVELY, from the
lowest; with more or less velocity, as the sentiment may require; keeping each note chord be filled up. Chords marked thus
the oblique line is put, as if written thus
p,
f
f
f
'till the time of the
are played as the preceding chords, with the addition of a note WHERE
but the additional note is not to be kept down.
Dolce or dol: means SWEET, with TASTE; now and then SWELLING some notes. Piano or Pia: or SOFT. Mezzo, or mez: or mezzo-piano, or poco or poc:P, RATHER SOFT. mo or VERY SOFT. Pianissimo, or P mo Fortissimo, or F or VERY LOUD. Forte, or For: or , LOUD. Mezzo , or Mez: , RATHER LOUD.
pp, ff,
DOWN
p,
16
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
fz, sf
Forzando, or sforzando or , to FORCE, or give emphasis to, ONE note. Rinforzando, or rinf: to SWELL 2, 3, or 4 notes. Crescendo, or cres: marked sometimes thus means GRADUALLY LOUDER. Decrescendo, or decres: GRADUALLY SOFTER; the same as the following; viz: Diminuendo, or dim: thus GRADUALLY SOFTER. N.B. this last mark where it is WIDEST, and then DIMINISHING.
often denotes an
EMPHASIS,
This mark
means to SWELL and DIMINISH.
ARPEGGIO, or ARPEGGIATO, requires that the notes of a CHORD shall be played successively; which may be done in various ways.
Ex: Arp:
or
thus
va
or
or thus
or thus
va
OTTAVA, All'8 , 8 alta, set over a passage, means that the notes are to be played an octave higher: and LOCO, that the notes are to be played again as they are written. The APPOGGIATURA is a GRACE prefixed to a note, which is always played LEGATO, and with more or less EMPHASIS; being derived from the ITALIAN verb APPROGGIARE, to lean upon; and it is written in a SMALL note. Its LENGTH is borrowed from the following LARGE note; and in GENERAL, it is half of its duration; MORE or LESS, however, according to the EXPRESSION of the passage.
APPOGGIATURAS, and other GRACES in small notes explained.
Ï
Ï
or
or
Ï
thus
Ï Ï Ï Ï
to be play-ed thus
thus
Ï Ï
thus
with spirit
or
Ï
Ï Ï Ï
Ï
played thus
thus
thus
or thus
as taste best directs in the passage.
MUSIC NOTATION
Ï
Sometimes
Ï
Ï
played thus
Sometimes the little notes are added to give EMPHASIS:
Ï
Ï
Example
Ï
Ï
17
played thus
N.B. the finger or thumb must be taken off immediately from the LOWER notes.
Ex:
Ï ÏÏ Ï Ï
ÏÏ
Ï
thus
played thus
3
thus
Ï
Ï ó Ï ó Ï
ÏÏ
but sometimes
thus
óÏ
th:
expressively thus
Ï ó Ï
thus
Ex: in double notes TURNS, SHAKES, AND BEATS, EXPLAINED
The Turn
thus
note and turn The plain
played thus
3
or
Ï
thus
3
3
thus
It is sometimes writ_ten in small notes
The dotted note turned
thus
ÏÏÏ
3
thus
3
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
Inverted turns
or
3
thus
!
18
or
thus
3
N.B. The LOWEST note of EVERY sort of turn is MOSTLY a semitone:
3
Ex: in dou-ble notes
Shake.
thus
$$
Short shake beginning by the note itself.
Transient or passing shakes
Turned Shake.
thus
thus
$$
or
$ $
3
thus
played
$$ $$
&
Ex: 2
played thus
or
or
% % $$
or
#
or
d
"
thus
played thus
The shake LEGATO with the preceding note, explained:
$$
thus
# Some Authors 3
thus
mark it thus
-pressed in small notes.
and sometimes turned thus
&
Prepared shake
ÏÏ
thus
Sometimes ex-
& '''''''' Continued thus shake.
3
st
3
Ex: 1
ÏÏ
ÏÏ
6 6 thus
MUSIC NOTATION
19
3 thus
or thus
&
3 thus
N.B. The GENERAL mark for the shake is this and composers trust CHIEFLY to the taste and judgement of the performer, whether it shall be long, short, transient, or turned.
The
$$ BEAT
or
(
thus
or 3 or or or
The LENGTH of the BEAT is determined, like that of the other graces, by the circumstances of the passage. N.B. When the note preceding the beat is an interval of a SECOND, let the beat adopt it, whether it be a semitone or a whole tone:
Ex:
(
played thus
(
thus
But when the beat, is on the FIRST note of a passage, or, when it follows a note, whose interval is GREATER than a SECOND, it should be made with a semitone; as the following examples will show.
Examples
(
thus
Lastly, let us remark, that the beat is seldom used in modern music.
(
thus
20
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
MAJOR AND MINOR MODES OR KEYS; VULGARLY CALLED SHARP AND FLAT KEYS. The FUNDAMENTAL note, called the TONIC or KEY-NOTE, of a composition is either in the MAJOR, or MINOR mode. An exposition of the scale in each MODE, will best explain their essential difference.
1 2 3 4 5 6 7 8 8 7 6 5 4 3 2 1 ª Keynote
Ascending and descending scale in the key of
C, MAJOR.
Keynote
N.B. The intervals in THIS scale are in their SIMPLE state; but in the following, they are an octave higher, and d d th are called COMPOUND intervals; still retaining their names of 2 , 3 , 4 , etc: as in their SIMPLE state. The figure 1, stands for a note of the same pitch, called UNISON: this last remark is confined to the foregoing example.
Ascending and descending scale in the key of
A,
MINOR.
Key note Keynote
3 5 2 4 1 ª
8 8 7 6 5 4 3 2 1
6
7
d
th
The first DIFFERENCE, which strikes the eye, is, that in the MAJOR-KEY , the semitone lies between the 3 and 4 th th d , and between the 7 and 8 both ascending, and descending: whereas in the MINOR-KEY , it lies between the 2 d th th d d th and 3 , and between the 7 and 8 ascending; but in descending, between the 2 and 3 and between the 5 and th th th 6 . Authors vary, however, in regard to the 6 and 7 of the MINOR mode. The ESSENTIAL and IMMUTABLE difference, therefore, between the MAJOR and MINOR key, is the interval of the d 3 , which differs by a SEMITONE; for if we analyse the 3 in the MAJOR-SCALE, it will be found to contain two whole tones; or four semitones: d
Ex:
3d
whole whole tone tone
d
Whereas the 3 in the semitones.
Example
3d
MINOR
whole tone
or
semisemi- semi semitone tone tone tone
-scale, will be found to contain one whole tone with a semitone; or three
semi tone
3
d
or
semitone
semitone
semitone
3
d
Now, the LAST, and if a chord, the LOWEST note of the bass, in every REGULAR composition, is the KEY-NOTE ; let d the contents then of the first FULL bar be examined, (treble and bass); where, if the 3 be major, the piece is said
MUSIC NOTATION
to be in SUCH a key major.
ª 3 4 ª 3 4
Example of a conclusion:
Example of the beginning of the same piece:
Example of
A MINOR ending.
ª
Example of the beginning
A
21
the LAST and LOWEST note of the bass is F.
d
the 3 of F, which is A in the first FULL bar, is MAJOR: therefore the piece is in F MAJOR
42 ª 2 4
N.B. Sometimes a composition in the MINOR mode may have a examine the beginning, in order to determine the MODE.
MAJOR
d
here the 3 of A is MINOR, the piece is therefore in A MINOR
ending; for which reason, it is safer to
Let the Pupil remember, that the NATURAL major-key is C; and the NATURAL minor-key is A; which latter is called the RELATIVE MINOR to the former; and that every MAJOR-KEY has its RELATIVE MINOR in the same proportion, namely one tone and semitone UNDER; as will be shown in the collection of scales. EXPLANATION OF VARIOUS TERMS The DEGREE of velocity in every composition is ascertained by some ITALIAN word or words prefixed to it: as ADAGIO, POCO ALLEGRO , etc. We shall annex a list of the terms mostly in use; beginning by the SLOWEST degree, which is ADAGIO; and gradually proceeding to the QUICKEST, which is PRESTISSIMO. _______________________________________ 1 2 3 4 5
ADAGIO GRAVE LARGO LENTO LARGHETTO
6 7 8 9 10
ANDANTINO ANDANTE ALLEGRETTO MODERATO TEMPO GIUSTO
11 12 13 14 15
MAESTOSO CON COMMODO ALLEGRO VIVACE CON SPIRITO
16 17 18 19 20
SPIRITOSO CON BRIO CON FUOCO PRESTO PRESTISSIMO
Various other terms are sometimes added to the preceding, in order to NON TROPPO ALLEGRO , not too quick etc.
MODIFY
or extend their meaning, as:
We shall subjoin some of the most common, with their explanation. MOLTO, DI MOLTO , or ASSAI, very. NON TROPPO , not too much. UN POCO , a little. QUASI , almost. PIù, more. MENO, less. PIù TOSTO, rather. SEMPRE, always. MA, but. CON, with. SENZA, without. MINUETTO A TEMPO DI BALLO, dancing-minuet time. To determine more particularly the style of performing, some of the following terms are also used: MESTO, or FLEBILE, in a melancholy style. CANTABILE, in a singing and graceful manner. AFFETTUOSO, in an affecting and tender manner. GRAZIOSO, in a graceful and elegant manner. CON MOTO, with a certain degree of vivacity. BRILLANTE, with brilliancy and spirit. AGGITATO, agitated; with passion and fire. CON ESPRESSIONE, or CON ANIMA, with expression; that is, with passionate feeling; where every note has its peculiar force and energy; and where even the severity of time may be relaxed for extraordinary effects. SCHERZANDO, in playful and light
22
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
manner. SOSTENUTO, to sustain, or hold on, the notes their full length. TENUTO, or abbreviated thus, TEN: to hold a note its full length. A TEMPO, in strict time. AD LIBITUM, at pleasure or discretion, with regard to time; introducing in certain cases an embelishment. TEMPO PRIMO, or PRIMO TEMPO, in the original time. RALLENTANDO or RITARDANDO, gradually slackening the time. SMORZANDO, MORENDO or PERDENDOSI, extinguishing gradually the sound, 'till it be almost lost. CALANDO, or MANCANDO, diminishing by degrees the sound, or slackening almost imperceptibly the time; or both. DA CAPO, abbreviated thus: D.C., to return to, and end with, the first strain. VOLTI SUBITO or V.S. turn over quickly. The LATIN word BIS, means TWICE; it is generally placed over a passage within a curve line, which denotes the extent of the repeat.
FINGERING To produce the BEST EFFECT, by the EASIEST MEANS, is the great basis of the art of fingering. The EFFECT, being of the highest importance, is FIRST consulted; the WAY to accomplish it is then devised; and THAT MODE of fingering is PREFERRED which gives the BEST EFFECT, tho' not always the easiest to the performer. But the combinations of notes being almost infinite, the art of fingering will best be taught by examples. PRELIMINARY DIRECTIONS The hand and arm should be held in a horizontal position; neither depressing nor raising the wrist: the seat should therefore be adjusted accordingly. The fingers and thumb should be placed over the keys, always ready to strike; bending the fingers in, more or less in proportion to their length. All unnecessary motion must be avoided. Let the pupil now begin to practise, SLOWLY at first, the following passage; observing to keep down the first key 'till the second has been struck, and so on. The 1 is for the thumb, and 2, 3, 4, 5, for the succeeding fingers. Right Hand Left Hand
1 2 3 4 5 4 3 2 1 2 3 4 5 4 3 2 1 and so on, a great many times. 42 ª 2 5 4 3 2 1 2 3 4 5 etc. N.B. Let every note be played even, in regard to time; and with equal strength. 4
SCALES IN ALL THE MAJOR KEYS, WITH THEIR RELATIVE MINORS which ought to be practised daily.
3 2 1 3 2 1 4 3 2 1 3 2 1 Left Hand 1 4 1 2 3 5 4 3 2 1 3 2 1 4 3 2 1 3 2 2 3 1 2 3 1 2 3 4 5 ª Right Hand 2 3 4 1 3 4 5 4 1 2 3 1 2 3 1 2
C major
24
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
5 4 3 3 3 1 2 3 1 ª 3 4 1 4 3 2 1 1 1 2 3 1 2
A minor
1
1
5
5 4 3 2 1 3 2 1 4 3 2 1 3 2 1 3 1 1 4 3 1 ª
G major
5
1 2 3 1
1
1
5
5 1 3 3 1 4 1 3 1 1 4 1 1 5 ª 3 1
E minor
5
5 1 3 4 1 3 1 1 3 4 1 ª 3 1 1 1
D major
5
5 4 3 3 3 4 1 2 1 ª 1 4 1 1
B minor
5
4
1
1
1
4
FINGERING
A major
5 4 1 3 3 3 1 1 ª 3 4 1 1
1
1
1
5
F minor
5
1 2 3 2 1 3 2 1 3 2 1 1 4 3 2 1 3 2 1 2 3 4 1 2 1 3 4 ª 3 4 1 1 4
5
4
5 3 1 3 1 1 1 4 3 1 1 4 1 ª 3 1 1
E major
5
5
1 1 4 1 2 3 2 1 3 3 1 2 2 3 1 3 4 3 2 3 1 ª 3 4 3 1 4 1 3 2 1 3 3 4
C minor
3
4
B major
3 4 ª 3 2 1 4
1
4
1
1
1
4 5 3 3 1 1 4 1 1 1
25
26
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
G minor
1 4 2 3 1 3 2 2 1 3 43 3 2 3 3 2 1 4 3 2 1 3 1 4 3 1 1 ª 3 4 4 3 2 1 4 3 2 1 3 2 3 4 1 1 3 2 3 1 4 3 4 1 1 3 1 2
3 4 ª 3 4
2 1 43 ª 3 3 1 4 4
F major
D minor
B minor
4 1 1 3 2 1 2 3 1 4 1 1 3 4 3 1
4 3 3 4 3 4 1 3 3 2 1 4 4 1 1 ª 3 4 2 3 1
D major
4 3
1
1
1 1 1 2 3 4 3 ª 1 3 4
1
3
2
3 4 3 2 3 2 4 1 1 1 1 3
FINGERING
5 3 1 4 3 1 1 3 3 2 2 3 1 1 ª 3 4 1 4 1 1
A major
1
3
F minor
5 1 3 2 1 1 4 1 1 2 1 1 1 3 4
43
1
ª 3 4
5
5
1 4 4 1 3 2 2 1 1 4 1 ª 3 1 2 1 4 3 4 3 3 2 2 1
2 1
E major
1
3
1 3 2 1 5 4 4 3 1 4 4 1 2 1 ª 3 4 3 1 4 1 1
C minor
5
4 1 3 4 3 2 1 2 1 4 1 ª 3 1 2 1 4 1 2 2 1
B major
5
3
1
1
3
27
28
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
5 4 1 2 3 3 4 2 1 1 1 4 5 3 5 ª 3 4 1
1
G minor
1
3 1 2 1 4 4 1 1 1 3 1
3 1 1 1 5 3 4 5 ª 3 4 45 4 3 3 2 1
F major
D minor
43
ª 3 4
5 3 2 4 1 2 1 3 5 4 1 1
1
1
1
5
N.B. All the preceding Scales should be extended, in practising, 2 or 3 octaves more, as likewise
the Scale of semi-tones for the right hand:
and for the left hand.
1 2 3 1 2 3 4 3 2 1 3 2 etc. 1 2
ª
1
2 3
1
2
5
4 3
3
2
4 1 2
2 1 2
3 1
2 3
4
2 2 1 2 3 1 2 3 4 1 2 etc.
2 1
1
3 1
3 2 1
2 1
1 3
3 2 1
4 3
2 1
1
3 2 1
2 1
2
1
N.B. The semitones are to be fingered in the same way, ascending and descending. GENERAL REMARKS ON THE FOREGOING SCALES th
The right hand has the thumb on the KEY-NOTE or TONIC, and on the 4 of the KEY-NOTE, in the following MAJOR and MINOR keys: C, G, D, A, E, and B. In all MAJOR keys with one or more flats, the thumb is put on C, and F. th The left hand has the thumb on the KEY-NOTE, and on the 5 of the KEY, in the following MAJOR and MINOR keys: F, C, G, D, A, and E. d th In the MAJOR keys of B , E , A and D , the thumb is put on the 3 and 7 of the key.
FINGERING
29
EXTENSIONS AND CONTRACTIONS ETC.
d
R.H.
d
L.H.
ª
1
5 5 4 1 5 1
5 1 5
1
d
R.H.
1 5 1 5 4 1 5 ) d L.H. 5 1 5⁀1 "
1
d
R.H.
5 1
5
th
N.B. The ⁀ 5 1 means that after striking C with the 5 finger, the thumb is shifted on the key without striking it. In a similar manner the left hand thus:
1⁀5 ª 5 " 1
Which mode of fingering should be much practised in various ways, the LEGATO-STYLE requiring it very frequently. The shakes should be practised with every finger, not excluding the thumb; and upon the short as well as long keys.
30
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
EXAMPLES OF FINGERING FOR THE RIGHT HAND.
5 4 3 3 2 2 1
But when the notes re-peat too quick for the same finger, it is then necessary to change.
4 3 2 3 2 3 2
4 3 4 3 2 1 4 3 2 1 4
5 3 5 3 1 3 5 3 1 3 5 3 1 3 3 1 3 5 3 1 3 5 3 1 3 2 3 4 3 2 3 4 3 2 3 4 3 2 3 4 3 2 3 2 3 2 3 2 3 2 1 2 1 2 1 2 1 2
3 4 3 2 4 3 2 2 3 2 1 3 2 1
5 4
4 4 3 2 1 4 3 2 1 4 3 2 1 4 4 3 3 2 3 4 3 2 3 4 3 2 3 4 3 2
2 42 42 2 4 3 1 2 1 4 2 1 2 4 3 2 3 5 3 2 3 5 1 3 1 3 1 3 1 3 1 3 2 42 4
2 1 2 42 1 2 42 1 2 42 1 2 4
5 3 4 1 2 3 1 2 3 1 2 3 2 3 4 3 2 4 3 2 1 1 2 3 1 2 3 4 3 2 1 4 3 2 1 4 3 2 1 4 4 3 5 5 3 2 1 2 4 3 2 1 4 3 2 1 4 3 2 1 3 2 1 2 4 3 2 1 4 3 2 1 2 4 3 2 5 4 3 2 5 4 3 2 5 1
3 1 3 1 32
2 41 3 1 32 41
1 3 1 32 41 3
5342
3142 3131
2 3 4 2 3 4 2 3 4 2 23 43 1 2 3 1 2 3 1 2 3 1
3 2 1 2 5 3 2 1 2 5 4 3 2 1 22 11 23 43 45 43 23 11 22 22 11 23 43 4 43 23 11 22 5
5 1 3 4 3 2 1
3 4 3 2 1 2 3 2 3 2 1 2 1 2 3 2 1 2 1 4 3 2 1 4 3 2 1 2 3 5
1 2 3 4 1 2 3 4 5
5
5 4 3
5 4
1 3 5 2 3 1 2 2 1 1 2 1 3 2 3 5 4 1 & & 1 2 5
3 2
5
5
5 5 1 3 5 1 2 3 5 1 2 3 5 1 2 1 4 2 1 5 4 2 1 5 4 & & 5 5 5 1 3 5 2 3 5 2 3 5 1 3 1 3 2 3
FINGERING
31
5 4 4 3 2 3 2 1 2 2 1 2 1 1 5 4 5 3 5 2 51 51 51 51 5
2 1 3 2
5 3 2 1 4 1 3 2 5 3 2 1
5
4 1
4 4 3 5 5 1 2 3 1 2 1 2 1 2 3 5 1 2 4 5 1 2 4 5 1 2 4 5 1 2 2
5 4 1 4 2 2 1 2 1 3 2
5
5
3 5 1 2 3 5 1 2 3 1 2 4 1 2 4 2 1 2 1 2 3 51 2 3
5
5
5 5 5 5 51 2 4 5 1 2 3 1 2 4 1 2 4 51 2 3 1 2 3
5 5 5 4 3 3 5 4 3 1 2 3 5 3 1 2 1 2 1 2 4 5 1 2
1 2 3
5 4 3 1 2
1 5 3 2
5 1
2 3 5 1 2 4 5
5 5 1 4 5 4 4 3 3 2 1 3 2 1 3 2 3 5 3 2 2 2 2142 1 1 2 1 3 2 1 1 1 2 3 2 3
4 2 4 2 1 3 4 5 4 5 2 3 2 1 2 1 4 2 5 1 3 2 1 1 4 3 2 1 4 3 2 1 3 1 3 1 4 2 5 1 2 1 3 2 5 1 4 2 5 1 5
5
5
5 2 3 1 5 2 4 1 5 2 4 1 2 5 1 4 1 4 2 5 1 4 2 5 4 5 2 5 2 4 1 4 1 5 2 4 1 4 5 2 4 1 4 1 5 2 5 2 4 1 5 5 4 2 5 2 4 2 41 5 2 5 2 1 2 3 4 4 3 2 1 2 3 4 5 4 3 2 1 2 3 4 5 4 3 2 1 2 3 4 5 4 3 2 bis
1 2 3 4 5
bis
5 1 2 3 4 bis
bis
&
bis
bis
downward 9 or 10 bars longer, keeping down the thumb and every finger as long as possible; being one of the best exercises for opening the hand.
32
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
1 5 1 1 5 1
5 1 5 1 5 1 5 1
4 1 5 1 55 5 1 5 1
4 1 5 1 5 1 5 1
5 1
5 1
5 1
5 1
5 5 2 3 42 3 2 3 42 3 2 11 11 1
3 4 53 31 4 5 3 4 5 4 3 5 42 31 5 4 3 32 1 12 23123213
3 45434543 2 13121312
5 3 4 53 4 3 4 3 4 3 4 5 4 3 3 4 5 3 42 3 42 3 53 4 3 5 4 3 4 3 1 2 1 3 2 1 2 1 1 2 2 1 2 1 2 1 2 3 2 1 1 2 3 1
legato
legato
5 1
5 1
3 1
2 1
3 1
5 1
wanted legato, thus:
5 1
41 2 3 5 3 5 4 25 12121
Staccato 3 3 3 3 3 1 1 1 1 1
4 25 1
5 32 1
5
or thus: 4 4 4 4 4 2 2 2 2 2
4 3 4 3 4 53 4 53 4 3 5 4 3 4 5 3 4 53 4 5 4 3 4 3 2 2 1 3 2 1 2 3 1 2 2 1 2 1 2 2 3 2 1 2 1
2 1
But when
5-4 5-4 1 1
5 5 4 5 5 1 4 1 4 1 2 1 42 5 2 2 1
4 5 41 5 4 5 4 2 1 2 1 1 2
4 1
4 2 4 2 4 2 1 5 1 5 1 5 3 5 3 5 3 5 1 2 1 2 1 2
3 5 4 5 4 5 3 1 2 1 2 1 2 1
4 3 4 3 4 53 4 3 5 4 3 2 5 4 3 4 3 1 2 1 2 1 2 1 3 2 1 1 3 2 1 2 1 5 4 3 4 3 3 2 1 5 4 3 3 2 1 2 5 2 1 53 42 3 2 5 4 3 4 5 2 31 42 53 42 3 2 5 2 3 1 3 1 1 3 2 1 2 3 1 1 1 3 1 1
4 5 4- 5 4- 5 4- 5 4 5 4 5 2 - 1 2 1 5
4-5
1
5 5 4 4
1
1
5 3
5
1
2 3 4 1 1 2
1-2
2
1
5 1
1
2
5
5
5
4 4 1 2
1 4 2
2 1
1
2 1 2 1 21 21 2 3 3
1
43 43 43
43 43 4
21
5
FINGERING
33
THE LEFT HAND.
2 3 1 3 1 3 1 3 1 3 1 ª 1 2 1 1 2 1 5 1 2 1 5 3 4 2 3 1 4 2 5 3
5
5
ª 4 1 2 2 3 1 3 1 4 2 3
2 2 2 2 3 15 1 3 15 1 4 15 1 4 15 1
4 3 2 1 2 1 2 3 4 2 4 1 5 5 4 3 1 1 3 4 5 4 2 1 5 1
2
1 2 4 2 5 1 2 4 5 & 3 1 5 5 1 2 1 2 1 2 15 1 2 1 2 1 2 1 5 1 2 1 2 3 4 3 1 3 4 3 1 3 4 3 ª 1 1 3 4 3 1 3 4 3 1 3 3 1 3 4 3 1 3 4 3 5 1 2 5 1 2 1 5 ª 1⁀2
1 2
The majority of the preceding passages for the right hand can be used for the same exercise with the left hand, by the ingenuity and industry of the pupil, which is very advantageous.
PRELUDES AND LESSONS To preserve the order of keys, some of the difficult are intermixed with the easy lessons: but the pupil must practise the easiest first. Viz: No.1, 2, 3, 7, 8, 9, 12, 15, 17, 18, 19, 20, 21, 22, 23, 25, 26, 29, 30, 31, etc.
LESSON I
42 ª 2 21 44 3 4 1 2 3 1 2
PRELUDE IN C MAJOR 5 4 3 5 3 2 2 1 3 2 1 1 1 2 3
1 2 3 5 1 213 24 5
AWAY WITH MELANCHOLY: BY MOZART Moderato 4 3 2
2 3 4 4 4 4 2 2 2 4 3 3 3 2 1 1 1 1 3 2 p 1 f 5 1 1 2 2 4 4 ª
7
5 3 4 4
ª 4
3 3 3 2 2 2 3
3 2 1 3 1 1 p 2 1 4
3 2 2 4 1
5 3 3 2 2 3 4 3 4 4 3 3 3 2 2 2 1 3 1
2 1 1 f 1 4 5 4 3 ª
13
PRELUDES AND LESSONS
35
LESSON II
13
1
5
1
ª2 4
2
5
3
1
5
1
3 3 2 2 1 2 3 1 5 5 4 4 3 2 p 1 5 1 5 2 5 3 5 5 5 3 5 1 1 4 5 4
5 4 3 3 4 2 ª
ARIA
4 4 4 42 5
1
1
f 3 5 1 2 4 5 2
5 5 2
5
3
3 3 2 2 1 2 3 1
1
1
5
3
5
LESSON III AIR, IN ATALANTA, BY HANDEL
1 2 3 2 4 Ï 3 2 1 & 3
ª
2
4 3
2
3
5
5 4
2
1 3 5
4
3⁀2
Ï 4 3 5
1
2
3 4
5
5
2 1 1 2 2 4 5 5 2 4 3 3
4 5 4 3 2 4 3 2 5 1 2 3 2 4 5 4 Ï 3 2 1 & 1 3 1 2 1 2
3 1 3 4 4 4 3 1 2 5 2 2 2 4 5 5 2 5 ª 4
8
2
2
2 3
3⁀2
36
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON IV AIR, IN SAUL, BY HANDEL
3 1 3 1 4 3 2 1 2 1 2 & 1 2 3 5 43 1 2 3 5 2 1 5 2 3 5 2 2 3 1 2 3 5 2 1 3 5 1 2 3 2 2 2 ª 3 4 3 1 3
3
3⁀2
3 2 5
3⁀2 5 4 2. & 2 1 3 2 3 2 1 4 3 1 2 3 1 4 & 1 1.4 2
1 1 2 5 5 5 3 3 3 1 ª 2 2 3 2 1 2 3 2 1 5 1 2 3 1 1 2 3 4 4⁀5
10
5 1 2 1
2
3
3 4 2 & 12 3 4 1 3 & 2 3 4 5 4 3 2 1 3 2 1 5 1 2 3 5 1 2 1 2 1 1 4 2 1 2 4 3 2 3 4 2 1 3 2 4 4 5 ª
19
1 2
3⁀2
4⁀5
5 4 5 3 4 3 5 4 3 1 2 3 Ï 3 2 3 4 2 3 28 1 5 1 2 Ï
5 2 1
3 2 1 1 3 1 4 5 1 2 3 3 4 5 3 5 2 1 5 3 5 1 5 1 ª 4
3
3
2
1
1
PRELUDES AND LESSONS
5
37
2 2 ⁀5 1 3 1 4 3 2 1 3 2 3 & 2 3 4 1 5 2 4 3 1 3 2 4 2 1 2 5 2 3 5 2 1 2 3 1 2 3 5 2 1 3 1 5 4 3 5 3 1 ª
37
4
Ï 4 3 4 2 1 4 3
4⁀5
3 2 5
2 1 3
5 4 3 2 1 3 4 2 1 2 1 1 5 2 3 4 2 1 5 2 3 4 1 2 1 3 2 5 1 3 5 1 3 4 1 2 3 4 2 ª 5
48
3 2
5
1
2 3 1
5 4 3
1
2 3 1
3
38
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON V DEAD MARCH, IN SAUL, BY HANDEL Grave 4 2
" Ï 1 ª
5
3 1
ª
9
4 2
1 2
ª
4 2
5 3
3 4 1 2
3 4 5 1 2 3
4 2
4 2
3 1
4 2
4 2
5
Ï
"
4
3 4
5
Ï
3 1
4 5 3 2 3 1
3 1
5 3
"
4 2
3 4 5 4 1 2 3 2
4 2
3 1
4 2
5
4 2
3 1
" Ï 4 2
3 1
4 2
"
5
Ï
4 2
3 4 5 1 2 3
4 2
3 1
2 1 2
ª
13
3 1
4
5
Ï
Ï
Ï
PRELUDES AND LESSONS
3 1
4 1
5 2
5 2
"
5 4 5 2 1 2
4 1
5 2
ª
17
5 3
5 3
5
4 3 2 1
4 2
Ï
2 3 1 2 1 2 3 2 5
5
3
39
5
3 3
5 4 3 1 2 3 2 2 2 " " Ï 2⁀3 2 1 4 4 1 2 1 2 5 1 2 & 4 5 ª
21
3 1
3 1
4 5 3 2 3 1
5 1
4 2
3 1
4 2
5 1
5 2
3 1
3 1
3 1
5 1
4
5 3
2 3 3 2 25 Ï 2 3 4 1 1 1 2 4 5 41 1 42 5 1 1 2 3 5 4 1 3 2 5 1 5 3 5 4 3 4 5 4 2 ª ) 3 1
4 2
5 3
29 ª 3 1
3 1
4 5 3 2 3 1
5 1
5 3
"
5
5 2
4 2
3 4 5
4 3 2 1
4
5
Ï
1 3⁀2 1 2 3 5 2 3 1 2 5 & 4 5 5 1 5 1
4 2
3 1
5 1
4 2
3 1
3 1
5 2
3 1
5 1
5 1
4 2 3
4
3 2
4 2 2 1
40
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON VI ALLEGRO BY CORELLI
2 5 1 3 5 3 1 3 3 5 3 1 1 3 5 3 1 3 5 1 2 1 2 5 1 1 2 1 5 2 5 2 ª Allegro 5 4 2 2 4
4 2 5 2 1 5 4 1 5 3 2 3 5 3 5 1 4 2 1 3 5 3 2 4 2 1 2 4 2 3 2 5 2 4 5 3 1 3 3" 4 4 3 3 2 4 3 2 ª
3
2
3
5 2 3 5 2 5 4 3 2 4 1 4 2 1 3 5 3 2 4 5 3 1 1 4 4" 5 2 5 1 2 ª
5
1
2
4
5
4 1
2
4
1
2
1 3 5 1 2 4 5 2 1 5 4 1 2 3 5 3 1 2 4 1 1 2" 3 3 4 5 3 1 ª 3
7
9
1
4
5 2 1
2
5 1
2
3
5 2
5 3 5 3 1 3 3 5 4 2 1 5 2 4 5 3 1 2 4 2 4 2 4 4 2
ª 3
3
3
2
2
3
2
3
1
PRELUDES AND LESSONS
11
41
5 4 5 5 4 2 1 5 2 4 3 5 4 1 2 1 4 1 2 4 1 3 1 2 1 2 1 3
ª
1
3
3
1
2
3
4
1 3 5 1 2 3 5 3 1 3 5 3 5 5 5 5 3 2 3 5 1 2 3 1 2 4 2 1 4 1 3 4 1 5 2" 2" 1 2 1 ª 5
13
15
2
3
5 3 1 3 5 1 2 3 5 3 2 1 3 5 3 1 3 5 1 2 3 5 2 1 3 5 1 2
ª
3
1
5 5 3 1 3 5 3 2 3 5 3 2 3 5 3 1 2 3 3 2 1 ª
17
2
4
4 5 4 2 4 5 4 2 4 5 4 1 4 5 4 ª
19
4
2
1
5 2 1
2
5 2
3
4
5 1
5
4 2
42
21
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
4 5 4 2 1 4 5 4 1 4 5 4 2 4 5 4 2 1 4 3 4 1 2
ª
5 5 1 2 4 5 1 2 4 5 1 2 4 2 1 3 5 2 1 2 1 2 4 3 2 2 ª
23
2 1
2
3
4 1
2
4
5 1
2
4
2 4 5 2 1 5 4 1 1 3 5 1 5 2 1 3 5 2 2 3 5 2 1 3 5 1 1 3 4 3 1 5 2 1 2 ª
25
27
1
1
3
5 2
3
5 3 1
4 2 1
1 3 2 3 3
1 ª
5 1
2
3
5 2
2
5 1
1
5 2
2
1
1
4
5 1
2
2
3
4
5 2
Adagio 1
4
5
5 2 1
1 3
PRELUDES AND LESSONS
43
LESSON VII PRELUDE IN A MINOR
5 3 5 2 1 1 5 2 1 4 2 1 5 3 2 1 86 1 1 5 3 1 3 ª 6 2 8 5 4 5 3 1 1
GAVOTTA BY CORELLI Allegro 3 1 2
4 5 2 31 2 3 1 2 1 2 5 5 4 3 2 3 ª
3 1
& 4
7
4 1
1
ª 3
2
4
5 4 3 2
3⁀2
4 2
1
1
2 5
1
3
5
4
5
5
3 2
2
4 1
4 1
p 3 2
5
4 2
5 3
3
5
5
3 2
4 1
3
5 1 4 3 2
3⁀2
4 1
1 2 3 1 2 5 3
5 3
5 3
& 1 f 1 2 5 3 5 1 2 3 4 4 1
3
44
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON VIII PRELUDE IN F MAJOR 4 3 3 5 3 1 1 1 1 2 3 2 1 3 2 1 2 1 2
1 2 3 5 3 2 1 5 2 4 1 1 1 1 2 3 3 2 2 1 5 5 3 5 ª 2 4 1 2 3 4 1 2 3
42 ª 2 5 4 5
4
AIR, IN JUDAS MACCABEUS, BY HANDEL 2 3 4 5 4 3 2 1 1 2 3 4 5 3
Ï Ï 3
3 4
5
3
& Ï 1 1 4 5 ª
1 5
3⁀2
13
4
5
7
3 4
ª
2 3 4 3
3
ª
19
3 2 3 4 3
1
4
3
3
5
3
3
5
4
3
5
3
1
5
Ï
4
5
* 1
4
2
& 1 1 2
1
2 3 4 5
5
1 2 3 4 5
Ï
2
3⁀2
1
3
3⁀2
5
4
3 4 3 5
5
4 3 2 3 1 1 3
2
5
2
4
3
&
PRELUDES AND LESSONS
45
LESSON IX MARCH, IN JUDAS MACCABEUS, BY HANDEL
&
& 4⁀5
1 3 1 5 4 2 ª 2 2 1 2 3 1
1 5 2 4 ª
6
1
2 3 4
3
2
5
21 ª
17
4
3
2
1
1
4 3 1 2 1 2 4 5 3 2 4⁀5
5
3
2 4
2
5
4 1
2 1 4 3 1 3
2 4 3 5 4
1 1 2
2
3
4
5
3 2
1 3 2 4 3 4
2 3 4 3 1
2 4
4 3 4 & 2 1 5 3 2 3 2 ª
11
3⁀2
2 4
4 3
2 1 2 3 1 2 3 & 2 3 & 3 1 5 4 2 1 2 1 3 4 2 4⁀5
2 4
&
3⁀2
4
5
3
2
2 3
4
1 3
2
1
5
4⁀5
2 4
3 2 3 4 3 4
5
1
4 3 2 4
3
1
46
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
& 4 3⁀2
2 ª 1
1 3 3 5 ª
23
28
2 1 2 3 2
1
2
3
4
1
3
3
1
1
2 5
2
3 2
2
3
3
2 3
4
5
4
3
2
1
4
1 2 2 4 3 1 3
3 5 4 3 2
1 2
2 4
1
5
4
&
3
1
3⁀2
2
1
1 3
2
3
1
4
3
2
1
5
PRELUDES AND LESSONS
47
LESSON X
&
43 3 3
4
Vivace
SARABANDA, BY CORELLI 5 5 5 4 2 4⁀5 3 3 3
3
2
1
2
1
& 5 1
4 1
4⁀5
1 1 3 1 2 1 5
3 2 1 2 2 3 4 3 2 1 3 3 1 3 2 1 2 1 1 2 1 ª 3 5 5 4 5 3 3 3 5 2 1 2 4 3 5 4
5 4⁀5
5 2
2 1 3 2 &
3 2 3 1 2 1 1 1 1 2 1 2 3 4 2 2 4 1 5 3 1 2 4 5 1 2 2 4 5 3 1 2 4 5 1 4 5 3 1 3 5 2 4 1 2 1 5 ª
8
16
5 1
2
2 1
1
5 3
5 3
5 3
5 1
5 4
&
5 4
1 3
4 3
2 1
3 1
4 2
4 4⁀5 2 5
3⁀2
2
1 1 1 5 2 2 5 1 2 2 4 1 3 1 2 4 5 1 3 2 3 2 5 4 1 3⁀1 5 3 ª
2 4
25
1
1 2 4 2 4 15 3 1 2 4
3
&
ª 4
48
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XI GIGA, BY CORELLI Allegro 3 5 3 1 4 1 3 5 3 1 3 1
2 4 2 1 4 1 3 5 3 1 3 1 3 5 3 1 3 1 3 5 3 1 4 1 12 8 1 3 2 1 3 1 4 ª 12 1 8 4 5 2 3 5 3 1 4 1 3 1 2 3 5 4 3 2 1 3 4 5 3 5 1 4 2 4 3 2 1 ª
4
3 2 1
4 5 2 3
5 3 1 4 1
3 2 1
5
1 3 4 5 3 4 1 2 ª
7
1 3 4 1 5 4 5 3 2 1 3 1
2 1 2 5 2 5 3 1 2 3
5 5 5 5 5 5 3 1 2 1 4 2 4 1 21 4 1 4 1 5 1 2 2 ª 1 3
10
5 2
3
1 2 5 2 5 3 1 2
1
5
3 5 3 1 4 1 2 4 2 1 4 1 1 2 3
4 5 2 5 2 1 2 4 5 1 4 1 2 4 2 1 2 1 2 2 1 2 1 1 3 2 2 2 3 ª
13
2
PRELUDES AND LESSONS
49
5 5 5 5 2 4 2 2 2 1 2 3 1 2 1 2 1 1 2 1 2 3 1 5 3 ª
16
3
5 3 5 2 2 3
3
5 5 3 4 1 4 1 3 1 ª 2
19
1 3
3
5 3 3 1 4 1 3 5 3 1 3 1 2 4 2 1 4 1 3 5 3 1 3 1
4
5
1
4
3
2
5 3 1 3 1 3 5 3 1 5 3 2 1 4 2 1 5 2 1 3 4 2 5 4 3 2 5 1 5 3 2 5 3 1 5 3 3 4 3 5 4 1 1 2 1 ª 3
22
25
3
5 3 1 4 3 4 2 3 4 3 3 3 3 3 1 2 3 1 3 2 3
ª 1
5
1
2
1
2
3
4
3
2
5
50
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XII
6
Andante 3 1
86
5
Ï
dolce
1 2 Ï p 2 1 2 1 ª 4 2
3
4
3
12
"
1
ª
5 4 4 2
1" 3
"
3 1
4 3 4 2 1 2
ª6 8 "
ARIETTA, BY MOZART 5 5 1 4 3 2 3 2
4 5 4 3 2 3 2 1
Ï 1" " 2
4 3 Ï
5
"
2
3
5
5
" 5 5 4
4 2
1" 2 2 2 3
3 1
5
4 2 3 4
5
4 2
" 5
1
5
3 1
3 1
4 3 3
4 2 5
1
Fine.
5
1
5
4 2
3 1
5
1 D.C.
1 2 3 2 4 1 5 1 5
3 5 5 4 4
2
5
3
5
1
5
5 2
5
4
3 1
4 2
3
PRELUDES AND LESSONS
51
LESSON XIII MINUET AND TRIO, BY MOZART
4 3 3 1 3 2 2 1 1 1 43
Minuet
1
1
3 5
1 1 1 2
5 5 2 1 2 41 7
1 2 3 1 ª 3 1
4 4 2 2
2 5 3 3
3 1 1 1 2 2 3 3 5
ª 3 4 4 2
5 5 4 4 5 3 3 2
3 5 5 5 4
2 4 4 4 3
5
1 2
)
3
4 3 3 1 1 2 2 3 2 1 2 3
1 1 5 5" 2 5 1 5 5
4 4 1 1
5 2
4 1
5 2
4 4 1 1
5
4
4
3
5
4
4
5
5 5 5 4 4 5 4 4 4 5 5 4 4 3 1 3 3 4 2 2 13 2 1 1 2 2 2 1 1 2 1 1
3 1 2 1 1 3 2 5 3 4 4 5 2 5 3 4 1 ª 1 5 5 4 3 3 4 53 4 2 2 1 1
5
4
52
Trio
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
5 5 4 5 3 4 2 4 2 1 2 2& 1 2 3 1 2 2& 1 2 3 4 3 2 1 2 3 4 43 fz fz fz
ª 3 4
5
fz ª
5
2 4
6
1 2
3
fz
4
4
fz
2
5
15
Ï
ª
4
Ï
3 2
3
Ï
2 1
2
2 3 3 2 1
4
4 3
4 3 & 2 2 2 2 2 2 1 2 3 1 2
3 2 21 1 2 4 2 3 5 3 1 11 fz 1 3 ª 5
5
4 1
5
4
3 1
1 3
2 4 2
5 2
4 3 & 3 2 2 2 2 2 1 1 1
2
2
5 3
Men.D.C.
PRELUDES AND LESSONS
53
LESSON XIV LE RÉVEILMATIN, BY COUPERIN
4⁀5 3 3 2 3 4 3 4 3 4 2
5 3 2
3 3⁀2 * 4 3 4 3% 2 3 4 3 # 2" 3 2 1 2 1 ª
5 5
1
2
4
1
5
2
1
"
5 3 1
# " 1 1 2
1 2 1 2
2
% * 4 1 2 * " 12 8 1" 1" 1" 2" 3 5 2 ª 12 8
2 3 4 5 Vivace 3 4 1 1 2 5 4
3
1
4
8
2
ª
1
5
2
5
2
1
3
4
3
1
4
3
1
3
% 1 5 5 1
ª " 1 3
6
4 5 * 4 4 1 2 1" 1" 1" 3
5
2
1
1 2
1 5
2
3
1
3
4
2
5
3
1
3
1
3
4
54
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
4 5 3 1 1 2 3 # 5 4 3 4 1 2 3 # 2 5 3 1 # 1
1" " 1 1 2 1 3 2 2⁀1 5 " 5 2 4 1 ª " " "
3 1 5 3 4 5 3⁀2
10
4 2 1
5 4 5 3 4 4 3
"
2
2 3
2
"
5
& 5 5 2
14
4 2 5 4 2 5 1 1 1 4 ª 3 1 2 2 3 1 3 3 1 3 1 3 3 1
3 5 5 3% 2 5 2 3 2% 1 1 1 2 3 4 2 3 3# 2 3 4 2 3 # 2 3 4 4 3% 2 3
1 2 3 1 2 1 2 3 2 4 1 2 3 5 " 1 2 1 3 5 2 4 1 ª " " "
17
5 3 2
5 2 3 3 1 4 5 2 1 5 1 2 5 2 2 1 4 2 4 3 1 4 1
ª
20
PRELUDES AND LESSONS
"
55
5 2" 5 4 5 3# # 4 3 22 2" 2 1 1 2 3
2
1
1 3 3 1 1 1 3 2 1 4 1 5 3 2 3 5 2 4 3 5 ª
4 2 1
3
1
5 5
5 4 3 4 2
1
4 1 4
5 4 3 5 3
4 1 4 5 5 4 3 3# 5 2 2 " 4 4 3 1 " 3 2 1 2 2 1 2 1
1 3 2 1
1 1 "
1 3 2 1 1 4 1 4 2 3 5 " 1 2 3 3 5 ª 5
1 5 4 3 4 2
5 2 5 5
2
25
2 3
5
&
4⁀5
3
5
1 2 5 2 1 4 1
ª
28
1 3
1
4
3
1
4
3
4 2 1
1
3
2
1
5
1
# 2 1 3# 4 5 1 5 4 4⁀#5 2 2 3 1 2 1 3 4 4 3# 1 3 2 3
1
2 2 3 5 4 ª
1 3
5
30
3
5 3 2 3 1 2 3 4 % 1
1
3
5
56
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
2 3 1 4 1 4 2 3 1 3 4 2 5 3 1 ª
33
2
1
5 5
4 2 1
5 % 2 1 4 2 4⁀#5 2
1 1 1 2 ª 3 3 4 2 5 3 1 1 3 5 " 2 4 " " 3
35
The graces of the first and second bar to be played like this:
Ï Ï
4 4 3 4
Ï Ï Ï Ï Ï ÏÏÏ Ï Ï
3 2 3
4
3
ÏÏÏ Ï Ï
3 4 3
2
3
4
3
4
3
2
Ï ÏÏÏ Ï Ï Ï Ï Ï Ï Ï Ï Ï
PRELUDES AND LESSONS
57
LESSON XV PRELUDE IN D MINOR
2 1 3 2 4 1 5 ª
5
ª
5
1
2 3 4
2
4
1
2 1 +
1
4
2
4 1
2
1
2
1 & 2 3 4 3 2 1 óÏ Ï 1 2 1 1 4 5 3⁀1 2 3 2 1⁀5 ª 4⁀5 3
7
2
5 4 2 1
4
3
2 % 1
2 3
4
1 2
5
1
2
LARGHETTO, BY SCARLATTI 3 5 4 2 1 2 5 3 2 1 4 2 1
5 4 2 1
ª 3 4 4
3
3 5
2 3 5
1
4
1 2 4 5
1
-
4
5 4 5 2 4 2 1 3 4 1 1 5 1⁀5 4 5⁀3 4
5
5 4 3 1 2 1 2 5
1
5
* óÏ 3
2
1 2 5
58
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
3% 5 4 1 2 1 2 4 1 5 2 1 2 1 ª 4 2 2 1 5
13
19
5 3 2 1
3
3 4
ÏÏ ª
5
4
3
2
2 4
& 2 ª 5 3⁀2
24
5 4 3 1
4
4
1
Ï
3
3
2 3 4
1
3 2 1
4
1
5
1
ÏÏ
4
2
3
1 2
2
1 2
5
2
3
4
1
1
5 4 2 1 2 1
3
2
2
5
3
2
Ï 3 1 2 4
2
5 3 4 1 2 5 4 2 1 1
2
4 3 2 1 2 1 2 5
5
1 2
1
5
1 2
óÏ
5
1
* 3
1
2
5
PRELUDES AND LESSONS
59
LESSON XVI ALLEMANDA, BY CORELLI Allegro 5 3
2
1 1 2 1 2 1 2 3 2 1 3 2 3 3 4 5 4 3 4 5 3 4 5
1 5 3 4 5 4 ª 3
5
3
ª
3 5
5 3
4 2
2 4
2 5
5
4
5
4
1 2 2 1 3 2 1 3 4 3 1 3 3 2 3 1 2 3 1 4 3 2 4 3 2 4 4 1 3 2 1
3
4
3
4 3 2
1 3 1 2 1 2 1 2 3 4 3 2 3 5 4 3 2 3 2 1 2 3 4 5 3 2 3 5 4 3 ª
5
5 3
4 2
1 2 4 1 2 ª 2
7
9
4 2
5
3 2
1 3 1 2 1 2 3 4 3 5 2 1 5 3
3 1
4 2
4 2
5 3
3 1
"
4 2
1 4 3 2 3
4 2
3 1
1 1 4 3 2 1 2 1 3 1 4 1 2 3 1 2 1 1 3 2 5 2 4 2 ª
60
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
5 3
3 2
"
5 1
4 1
3 2
2 5 3 2 4 1 4 1 5 3 2 3 1 2 ª 3⁀5
11
3
4
1
1
1 3 1 2 1 2 1 2 3 2 5 4 3 5 3 2
3 2
2 1
1 2 1 2 1 2 1 2 3 2 3 4 5 4 3 5 4 5 4 3 2 4 3 2 1 4 3 5 4 3 ª 3 1
14
2 1 ª 3 2 4
17
19
4 1
ª
5 3
4 2
1
1 1 2 3
4
3 2
2
3
4 1
4
5
4
3
3
1
2
5 1
4 2
4 2
1
2 2 1 4 1 2 1 5 3 3 2 3
2
2 1 5 1 3 2 1 3 4 3 5 2 3 4 1 2 3 3 5
4
5 4 3 2 3 1 1 3 2 1 5 4 1 4 3 2 1 3 3 3 2
2 1 ª 4 5 3 4 1 4
21
5 3
4 2
4
4 2
3 2 1
5
3 1
3
4
1 3 3
PRELUDES AND LESSONS
61
LESSON XVII SARABANDA, BY CORELLI Allegro 4 1
5 4
5 1
5 2
4⁀3 3 2 1 86 1 3 5 1 3 5 3 1 5 1 2 1 3 2 1 2 1 2 3 4 3 2 1 2 1 3 ª 6 8 3 2
4 1
3 2
4 3 3 2 31 3 42 3 1 6 2 1 2
1 2 3 3 4 5 3 " 2 5 ª
ª 5" 4
12
4 1
5 4
3 1
4 2
3 2
1 1
2
5
3 1
4 2
3 1
3 5
4 2
23 41 3 5 4 3 3 2 1
1 2 3 1 4 5 1 2 3 4 5 3 2 3 1 2 3 1
3 " 4
5
62
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XVIII
3
PRELUDE IN G MAJOR 4 2 1
5 2 1
3 4
1
4 ª 3 4 5
3
5 4 3 2 1 3 2 1 4 ª
2
3
2
5 3
4 2
1
3 2
1 2 1
5
3 2 1 5 4 3 2 1 3 1
1 2 1 2 1 4 2 5 1
AH VOUS DIRAI - JE MAMAN 3 1 2 1 4 3 3 3 2 1 2
2 1 1 3 2 3 4 5 3 4 2 4 1 1 5 1 4 3 2 5 3 5 ª 2 4
13
5 5
ª 5
1
5
Ï
4
5
4
1
3 4 5 3
1 4
2
1
3
1
2
5
5 5 4 4 3 3 Ï 3 1 1 5 2 5 1 5 1 5 2
4 3 3 2 3
2
5
1 2 1 4 3
1
4
3
1 2 4 2 1
3
5
3
Ï
4
Ï
3
2
5 3
2 1 2 3
1
1
1
5
5
PRELUDES AND LESSONS
63
LESSON XIX TRISTE RAISON
6
5 3
ª
4 2 5 4
3 1
4 2
5 3
3 4 ª 3 5 1 1 4 5 3
3 2
12 1 2 ª 4 3 4 4 5 1 2 1 2 3
3
1
5
1
5 3
2
2
5
4 2 5 4
5
4
1 3 5
3 3⁀5 1 5 4 1-3
4 2 1
3 1
1 3
Ï
5 3
1
5
Ï
3
2 4
Ï Ï
1 2 5
3
4 2 1
3 1
5 3
5
*4 2
2
3
4 4 1 2
3 2
4 1
3 2
3
2 3
4 2
3⁀4 5 4 1
Ï Ï
1
5
5 3
3 1
5 4
3 3⁀4 1 5 4 1
3 1
4 2
5
4
1 3 5
3
5 4 3 4
* Ï ÏÏÏ 2
64
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XX
!
FAL, LAL, LA. AIR IN THE CHEROKEE. 4 1 3 3
2 1 " 5 5 4
1 2 4
ª 2 4
5
4
" 2.
2 2 4 4 1 5 3 2 5 1 1
ª
6
ª
15
5
ª
4 2
2 3 1
5 3
5
Ï
2
1" 1 5 4 23
4
5 4
4
2 3
3
4 1
1
Ï
5 3
1 2
5 1
3
Ï
3
5 2
2
3
1 1⁀5
1
5 4
4 4
5
2 4 2 Ï
"
PRELUDES AND LESSONS
65
LESSON XXI LARGHETTO, BY PLEYEL
"
dolce 1 ª 3 5 3
3 1
p 3 2 1 5 ª 5 3
7
4 2
3 3⁀4 1 1-2
5 3
4 2
5 3
p 1 4 2
5 3 5 2 4 13 1 3 1 2 1
f 1 1 2 4 3 5 2 3
4 3 "
f1 2 1 1 3
4 2
4 2
4 2
5 3
5 1
4 2
" 2⁀4
3 2
3 4
2
5 5 " 1 3 2 2 2 1 2
cresc. 1 2 3 4
1
5 2
2
Ï 1 p 2 1 2 3
1
"
dolce )
5 4 3 3 3 3 2 1 1 1 3 1
3
"
f ª
19
5 3
2 3
" 5 1 p 2 5
3
Ï
3 1
3 1
1
2
2 1
1 3
66
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XXII ARIETTA
3 3 2 1 3 2" 3
2 1 2 4 5 3 1 3 5 2 1 5 3 2 1 4 5 3 5 3 ª 2 4 Allegro 3 1
42
5
"
1
3
5
3
2
5
3
4
2
2
4
2
2 3
3 4 2
3
1
2
5 4
5
3 1 3 5 3 5 3 2 1 5 3 2 1 42 5 ª 1 2 4 2
5 2 Ï
1 1 2 1 2 4 2 1 2 5 5 2 2 4 2 2 ª
10
4 3 2 3 2
1
3
2
1
3
3
4 3 2 3 4 3 2 3 4 3 2 1 # 1 1 1 2 1 2 5 2 2 5 4 2 2 3 2 2 ª
14
4
3
2
1
2
1
4 3 2 1 3 Ï Ï Ï Ï
fz 12
3 5
2 1
3
5 3
1 Ï Ï Ï Ï
ad libitum
2
Ï
Ï 1
2
Ï
PRELUDES AND LESSONS
67
"
a tempo ª
16
1
3
5
3
4
2
ª
20
68
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XXIII GERMAN HYMN, WITH VARIATIONS BY PLEYEL
9
$
Andante 4 5 1
2 4
ª 3
Variat. I
6
5 3 2
4 2
4 1
3 2
5
"
5 3
4 1
pp p 1 2 3 5 3 5
1
1
5 1⁀2
4 2 1
4 1
5
3 1
"
5
"
4" 5
4
5 1⁀2
2
5 3 1
4 1
sempre staccato 2 3 1 1 2 5 1 "
ª
"
fz 2 5 "
42 p % ª 2 4
5 3 2
4 1
5
"
5 1
3" 4 1 1 5
ª 2 5 3 4 4 3
4 2
3 2
4 2 1
5 3 1
5 3 1
5 3 2
4 1
5
2 3
4 2 1
5 3 2
1 p
PRELUDES AND LESSONS
" $ f ª
4 2 1
11
Variat. II
&
3
4
2
Ï 4 5
ª
5 1 & 2 1 2 3 4 5 5 1 2 " 3 5 4 2 1 2 3 4 5 3 Ï 2
4
" " ª 2 dolce 4
7
5 2
5 3 1
2 1 3 2 3
5 1
4 1
"
5 2
Ï p f 2 5
3
3
5
1 2
p ª 5
12
69
2
3 2 1
2 3 1
2
4
5
3 1
"
3
2 4
Ï
2
3
5 3 4 3 2 1
1
1
4
2
"
70
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
Variat. III
5 2 1 2 3 2 5 3 2 3 1 2 4 1 2 5 2 1 3 3 1 2 4 2 4 4 " " " ª 2 " 4
1 3 5 3 2 " " " ª 5
4
4 4 4 1 5 3 1 2 1 2 3 1 1.
7
ª "
10
2.
1 5
5 5 2 3 1 4 4 5 1 3
ª
"
5 3 3 3 2 3 1 2 4 " "
5
1 Ï " " " ª
13
1
1
2 1 2 3 1
5
1 2 1 2 3 1 2 3 1 5 3 2 1 " ª "
1.
16
2.
PRELUDES AND LESSONS
71
LESSON XXIV ANDANTINO, BY DUSSEK Andantino ma Moderato e con espressione 4 4 5 1 5 2 4 3 2 3 3 1
42 p ' 1 2 ª 2 4 8
'
2-5
4
"
1 2 3 4
5
4
3 4
5
ten. 3
Ï
4 5
3
1 3
5 3
1 4
4 2
4 3 2 1
3 2
5 1
4 1
1 2 3
5
21
31
4
"
4
Ï
"
"
4
Ï
4
3
1 4 5
2 1
pp
1 4
1 3
4 1
5 2
5 3
4 2
4
1 2 5
1 3
1 1 rf f 1 3 1 3
1 3
2 1 ª 1
15
2
5 1 4
3 1
) 2-3 2 3-5 4
"
2 5
3 1
"
5 1
3 1
3 2
"
5
2 3
4
5
1 2 5
2 1
p 1 2 1 2 1 " 1 1 2 3 3
4
2 1
1 4
"
72
22
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
5
1 cresc.
ª 21 5
28
(
4
4 2
1 1 5
ª 5 2 1
1 2 5
5 3
"
5
Ï
5 3
3 5 3-4 ó Ï Ï ó Ï Ï 1 pp 2 1 1 2 3 4
5
3 4
4 3
"
2 3
5 2 1
34 1 4 1 4 & ª
"
5
5 3 1
1 2
5 1
4 2
2 3
4-5
4
1
2
5
4
"
1 p 2 f 2-3 2 13-2 3-5 4 2 3-4 5
3 4
4
5
5
1 4 25
4 2 1
1 4
4 2 1
2 5
4 2
4 3 2 1
3-5 1
"
2
4 1 1
3
1
3
5
" 5 4" 4 4 pp 3 1 3 1-2 4 3 2 1
5
3-1
Ï
3
"
4 5
4 1
4 2
4
5 3
3
2 5
2 1
1
2 1
2 5
2-1
4
3
5
5
Ï
ten. 3
4
3
4
3 4
1 1
1 2
5
PRELUDES AND LESSONS
73
LESSON XXV
43 3 5 ª 3 4
5
ALLEGRO, BY HANDEL 4 5 2 4 5 1 4 5 2
4 3 1 5 2 1 3 2 2 4 1 4 1 2 4 2 3 3
5
1 1 5 1 4 5 1 2 3 1 3 1 2 2 2 3 1 1 4 5 1 5 4 3 5 ª 2
5
5
1
5
3
5
5
5 3 1 1 2 2 1 4 3 2 1 2 1 1 2 3 5 3 5 4 3 2 1 4 1 2 5 ª
9
4-5
5 5 1 1 3 4 2 1 4 2 1 5 1 5 2 4 2 1 3 3 4 2 ª
13
5
3 1 3 2 1 5
74
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
5 3 2 ª
17
1
4 2
1
5 3 2 4 1
1 5 1 1 2 3 1
1
5 4 5 2 5 5 3 1 3 3 2 2 1 1 4 3 5 4 3 3 2 1 5 5 3 2 1 ª
20
5 1
1
4
1
4-5
24
) ª
3
5
5
2
2
1
3
2
1
1
3
1. 2
5
1
1
2
4
5
2
2
4
5
2 1
2.
5
2 1
5
PRELUDES AND LESSONS
75
LESSON XXVI MINUET IN SAMSON, BY HANDEL
4 5 & 1 4 5 2 4 3 2 5 3 1 5 8
2 1 1 5 2 1 1 5 3 2 1 4 1 1 3 2 3 1 2 3 4 3 5 ª 3 4 8 3⁀2
4
" 9 2 * 1 ª 3 4 3 2
4 1
5 1
5 3
4 2
1
3 4
25
1
ª 2
5
2
5 3
3 4⁀1 2 & 1 + 1 1 2 ª 2 5 3
17
"
& 4
1 4 3 4 5 4 2 1 2 3 2
4 2
"
5 1
4⁀5 4 2 5
5 4 5 3 4 2 1 2 1 1
1
3
2
5 2 5⁀2 4 & 4 2 & 4 2 & 3 5 3 1 1 2 3 1 2 3 5 1 3 2 1
3 & 2
1 3-5 1 5 3 2 1 5 5 2 4 5 4 1
2 1
4 2 5
5
" 1 3 5 5
"
76
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
& 33 " , ª Fine.
3 4 3 1 2 1
3 4 31 1 2
2 3 5
3 1
4 2
5
5 3
3 2
4 1
5
5 4 4 1
5
4⁀5 2
& 2 31 & ''''''''''''''''' 1 3 1 5 1 5
1 1 2 3 5 1 1 5 1 2 4 3-5 2 3 2 3 ª 3 5 2
42
3 4 3 4 5 1 2 1 2 3
4 3 2 1
& 5 3 4
2 1 5 ª
50
3
1
" "
ª
57
"
&
&
D.C. al Segno
PRELUDES AND LESSONS
77
LESSON XXVII GOD SAVE THE EMPEROR, COMPOSED BY DR. HAYDN
Poco Adagio Cantabile 5 5 5 4 4 3 4-3 2 2 2 1 1
3 5
2
4-3 2 1
3 2 1
ª
11
-
3 5
ª 21 3
4 1
1 5
2 5
4 1
1 2
5
Ï
4 2
3 2 1
3-2 5-3
3 5
1 4
3-1 2 1
3-4 2
1 5
2
1 2
4 5
5 3 2 1
4 2
4 2
3 1
5 2 1 3-2
2 5
4 2
4-5 2
3
5 3
5 2
4 2 1
5 3 1
41
5 3
2 3 1 5
3
3 1 2
2
ª 21 45
4 5
"
4 2
4-5 2-3
3 1
1 2
2 3
"
4 1
4 1
2 5
1 3
4 5 2 5
5
4-5 1 4
2 3
5 2
1 5
3 1
2
5
5
Ï
4 2
1
3
5 2 1
1 2 4
4
4 2 1
78
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XXVIII
Presto 3 4
RONDO IN THE GIPSY STILE, BY DR. HAYDN 3 1 4 2 3 1 3 1 5 1 3 5 3 4 2 3 4 5 3 4 2
2 1 " 2 4 ª 2 4
6
ª
11
4
" "
" ) 4
1 2 1 2
4 1
3 2
5 3 1 2
3 1
5 4 3 2 5 5 4 3 5 5 3 2 1 3 2 4
fz fz ª
fz fz
16
21
4 2 4 5 1 4 2 3 1 2 1 3 1 4 3
ª
2 4 1 3 1 3 2
PRELUDES AND LESSONS
79
4 5 4 3 4 2 1 1
" 31
)
26
4 2 1
5 3
"
4 2
3 1
4 2
3 1
2 1
fz ª
36
50
# ª
fz
"
"
"
" ff " "
"
"
"
4
fz ª
43
"
"
"
"
"
"
"
" " "
"
80
" ª
57
# " ª
64
70
#
#
"
#
"
"
" " "
"
"
"
" " "
"
"
"
ª
80
"
"
"
"
5 3 3 3 1 1
ª
75
"
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
ÏÏ
ª
fz
ÏÏ
ÏÏ
"
fz
ÏÏ
"
5 3
" 2
1
3 3
ÏÏ
ÏÏ
"
"
ÏÏ 2 3
4
1
fz
"
"
ÏÏ 2 3
4
2
fz
fz
3
fz
3 5 4 3
"
fz
fz
"
1 3 2 1
2
PRELUDES AND LESSONS
85 1 1 2 ª 3
3 5 4
ª
90
81
5 3
" " ª )
95
fz fz ª
fz fz 105 ª 100
82
110
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
120 " ª
115
125
"
1
ª
" )
" 1
fz
ff ª ff
130
2.
"
1
1. fz
3 2 1 2 1
5 4 2 4 2
PRELUDES AND LESSONS
135
3 2 3 4 3 1 3 2
ª
fz ª
141
1 fz
ª
146
ff
ff
ª
151
83
p "
" )
156
84 161
ª
166
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
fz fz
fz fz
ª
" "
171
)
181 4 ª 176
ff 2 1 3 1 3 1 4 3
PRELUDES AND LESSONS
" " ª
185
" ª
190
"
85
"
86
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XXIX PRELUDE IN E MINOR
5 4 5 2 5 1 5 1 5 2 5 1 2 1 2 1 2 1 2 1 2 ª
3
5 4 1 3 2 4 1 3 2 3 2 4 3 2 1 3 2 1 2 1 5 4 3 1 2 1 2 1 3 5
ª
5
5
1
1 2 3
ª 4
1
3
4
4
2 1
4
4
5
TAMBOURIN BY RAMEAU
% 1 2 3 4 1 3 2 1 1 1 2 1 ª
Vivace 1
1
5
2 % 1 3 2 3 3 3 1 % 1 % %
ª
7
PRELUDES AND LESSONS
87
2% 1 3 5 3% 2 1 5 4 2% 1 % % ª
13
% ª
19
%
3 3 2 3 3% 1 3 % 1 2 % 1 2 3 % 2 1 5 1 1 1 1 1 2 2 2 2 2 3 ª
25
1
5
2
ª
31
36
1 3 4 3
1
1
1
5
5
1
2% % 1 5 5
ª
2
2
% ª
42
3 4 3
3 1
Ï Ï 4 4 5
3
1
Ï Ï 3 3 4
2
Ï Ï 4
3
88
48
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
ª
ÏÏ 3
2
ÏÏ 2 3
2
Ï Ï 4 4 5
1
1
ÏÏ 2 3
2
1
5
1
ÏÏ 2 3
2
1
5 2 4 1 4 2 4 2 4 1 4 2 4 1 4 2 3 1 ª
53
58
ª
1
Ï Ï 2 2 3
1
1 2 1 2 3 4 2 4
1 4 2 3 1 1 3
1
Ï Ï 4 4 5
PRELUDES AND LESSONS
89
LESSON XXX PRELUDE IN B FLAT, MAJOR
6
sempre legato
4
1 4
2 5
2 5
ª 1
1 1 1 2 1 ª 3 1 2 2 5 2
4
3
5 3 2
3
2⁀1
3 2 3 4 5 3
ª 4⁀1 5 2
5
1
5
4
MINUETTO BY SCARLATTI 5 5 4 3 2 1 1 2
2 1
1
Ï 4
1
5 4 2 5 4 2
3 5 2 1 4 % 5 1 2 ª 3 4 8
2 4
2
5 4 3 5 2 1 5 1
1
2⁀1
3
4
2 1 2 1
3 4
2
1
2
3
4
2 1
2
5 4
5
2 1 3 4
4
Ï
ÏÏ 5
1 2
3 2 1 1
4
3 4
2
5 3
2 4
90
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
15
5 3
ª
1
22
4 2 1
5 1 4 &
4⁀5
ª
2
4 3
ÏÏ 2 3
4
1
3
2
1 4
4
1
1
2
1
5
5 1 3
1
3 4 1 2 1 2
2
2
4 2 5 1 1 2 2 1 2 1 2 3 4 3 2 5 4 3
1 2
5
2
5 2 2
5
1
4
5
3
2
3
4
2 1 2 3
3
Ï
3
4
( 2
2
1 2 3 1
2 1 5
1 3 5
PRELUDES AND LESSONS
91
LESSON XXXI LINDOR - AN AIR Allegretto 5 4 4 2
4 1
5
3
"
2 3 1 1 3 1 4 1 2 5 3 2 1 4 1 5 ª 2 4 42
1 4 3 4 2 1 2 . 1 5 2 4 ª
5 3
4
4 2
13
5 4
3
ª 5
4
"
2
2
"
2 1
4 1
3
3
4
1 1 4
7
4
3 1
3 1
1
2 1
2
2 4
5
5 1
4
4
3 2
4 3 Ï 4 3 2 2
3 1
3
3
4
5
5
2 4
2
4
1
"
2
&
2
3
1
3
4
4
1 4
5
2
2
2
5 1
2
92
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XXXII MINUET AND TRIO, BY MOZART
5 4 2 3 3
4 2 1
Minuet
7
12
3 4
a tempo di ballo 1 5
ª 3 4
4 1
5 1
5 2
4 1
1
5 2
5 1
3
5
2 42
1
"
1 5
& 1 2 3
4 1 2
2
ª
5
2 4
1 3
2 4
1 3
1
3⁀2
3 1
3
3 35
ª 2 4 2
4 3 2 3 2 4 3 1 2
3
2 4
& 34 2
fz 4⁀5
1
2
3
3 5
4
2 4
2
4
5 2
3
2 1
2
1 3
3 4
3 5
2 4
1 3
2 4
4 4 2 5 42 3 1 2
fz
4
Ï
3 1
3 2 3 4
2
2 4
"
1"
2
PRELUDES AND LESSONS
Trio
'
43
4 1
4 2
5 3
3 1
7 1 " 3 1 1 2 2 5 ª 5
2 1 3 2 1 2
12
4 1 2 3
4 4 5 1 2
4
5 3
5 3
5
4 2
5 4 3 2
5 3
5 4
5 4
2 3 1 2 3 3 4 2 1 3 3 4 2 3 2 1 2 1 4 3 1 2 3 2 4 3 2 1 2 1 3 2 4
2 1 3 2 1 2 1 2 3 4 D.C. Men. 1 2 3 4 1 5 4
5 1 5
ª 5
4 3
1 2 1 2 1 2 1 3 4 3 4 3 4 3 5 1 2 1 4 1 5 1 4 1 5 1 5 5 5 3
4 2
ª 3 4
93
2 1
5 4 3 2
3
st
N.B. The last note of the bass in the 1 part must be played d st d with the thumb the 2 time, on account of the 1 note in the 2 part.
94
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XXXIII 5 2
/
Ï
ª 5 2
GAVOTTA IN OTHO, BY HANDEL 3 1 3 5 4 1 2 4 3 3 2 1 4 2 3 2 1
4 2 5 4 ( 3 3 3 5 2 1 2 3 1 2 4 3 4 2 1
3 4 ( 2 1 3 4 2
2 3
1 1 2 3
( 5 4 3 Ï 4 3 2 & Ï 4 ÏÏ
1 5
6
5
4⁀5
3 4
4
ª 2
5
3
2
5
2 1
1
5
5
2
1
5
1
2 4
3 3 4 ( ( 2 1 4 2 2 3 1 1 ( 2 1 3 2 1 Ï 1 2 2 1 2 1 1 1 1 1 3 5 3 2 5 1 5 3 2 5 4 2 2 3 4 5 3 ª 5 3 1
4⁀5
12
17
5 2 1
% 1 1 3
4 5 3
ª 1
3
1
2
5
5 3 1
5 2 1
4
5 1 3( 2 1 5 1 3( 2 1 4 1 2 3 5 1 3 5 2 1 2 4
2 2 3 1 3 1
3
2
1
2 3
5
1
5
PRELUDES AND LESSONS
22
0
5 5 3 5 1 1 1 3
27
/
Ï
3
ª 5 3 1
5
5 4 2
2
1 2 1
4 3 2 & 1
2
4 2 1
4⁀5
5 3 1
1 2 3
1
4
2
5
5
5 3 1 2 5 3 1 5 4 5 ª
Ï
2
5
Ï
95
5 4 2
(
1 3 5 3
& Ï Ï Ï (
1 2 5 3 4
3 5
2 1
2 5 1
2 3
5
96
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XXXIV
2 5 4 p
ANDANTE WITH VARIATIONS, BY CRAMER 5 3 4 3 1 5 4 2 3 1 2 4 3 1 2 5 4 2 1
" " 2 3 1 2 1 4 " 4 3 ª 2 5 4
ª
"
2 14-3 2 3 3 4 5
"
2 1 2 4 ª 2 4 4 1
Variat. I
dimin. " "
" "
3 1 2 1
"
p " " "
4 " rf
2 5 4 2 1 2 3 4
1 2 4 2 1 2 3 5
1 2 4 3
5 3 1
1" 1 2 3 4 1 5 dimin. 1 " ª "
6
2
5 3
5 2
5 1
3
4
PRELUDES AND LESSONS
97
ª
p " ª "
15
Variat. II
5
8
5 1
2
" " 2 4 ª 2 4
ª "
ª "
"
4
fz
3
4 1
5 2
3
5 2
4
"
3 2 1 3 2
p
Ï
"
" "
fz " "
98
12
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
Ï
fz ª
ª
15
" " Ï
p
"
5 4 1
Variat. III
"
" "
Ï
" " "
" "
"
p " " "
8
4 1 4 2 4 2 2 2 1 3 1 4 2 1 2 1 2 1 4 3 1 5 3 1 2 3 5 1 2 4 f " ª 2 4
4 2
5 4
5
3 5
4
4 1 3 1 2 2 1 dimin. rf fz ª
5
5 3 1
3
2 1 4 2 1
5 4 2
5 3 1 4 2 1
5 2 1
" 1 4 2 3 1 5 4 2 5 4 2 ª 5 4
5
5
5 3 1
5 2 1
5
5
5 4 5 3 4 2 1 1 2 4 3 1 "
3 2 1
PRELUDES AND LESSONS
99
5 4 3 4 2 3 4 3 2 4 3 2 4 3 2 4 3 2 4 3 2 1 1 2 2 1 3 2 3 4 5 2 1 5 4 2 " )
12
15
5 2 1 5 3 2 5 2
fz 5 4 2 ª "
4 2 1 4 3
1 4 2 1 5 2 1
"
"
" ª
5
1
3 1
5
3 1 4 2 1 5
" " Ï
"
ff
3 1
100
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XXXV PRELUDE IN G MINOR
" "
ALLEGRO, BY SCARLATTI 3 5 2 2 1 2
4 3 4 2
ª
ª 3
2 2
5
4
2
1
3
3 2 5 4 3 2 1 4 3 1 4 3 2 1 2 1 ª
1 4 3 1 2 3 ª 5
3
4
1
3
5
4
2
1 2 1 3 5
4
2
1
ª
6
4
1
5
PRELUDES AND LESSONS
101
2 2 5 3 1 3 " ª 2
8
10
1
1
4
Ï
2
3
4
3
2
3
1
1
&
"
"
4 3 3 2 3 3 4 4 3 4 3 4 3 4 ª 4 4
&
5 4 2 " & 1 5-4 3
5 1 5 1 2 2 2 3 4 1 ª
12
14
1
4
3-5
4
3-4
1 ª 1 2
16
2
1
2
3
4
3
2 1 2 1 ª
3
2
3
2 1
4
4
1
& 2 3 1 4⁀5
5
102
18
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
ª
4⁀5 1 3 5 2 1 5 1 4 4 4 4 1 2 & 2 1 5 2 1 "
4
4
1 4 4 2 5 2 3 4 3 2 1 5 3 ª
5 3 1 ª 2
24
26
2
& 2 4 2 4⁀5
1
5
2
1
ª
2
28
5
1 1 2 3 1 2 3 4 ª 5
ou
2
1
2
4
5
"
5 2 3
4
2
5
5
1 2 3 1 2 1 2 5
PRELUDES AND LESSONS
103
5 5 5 5 1 2 1 3 1 3 4 4 2 3 1 2 3 4 5 3 ª 3
30
32
3 1 ª
34
3
3 5
5
1
3 1
4 3 1 2 4 3 1
2
3
5 5 2 2 3 3 4 2 1 1 2
ª 2
4 & 1 3 1 2 1 3
1 2 1 5 5 4 3 2 1 1 2 1 5 2 3 4 5
3
1
3 4 2 4 2 3 1 2 1 5 4 5 2 & 1 2 1 2" 3 2 4 2 1 2 4 1 1 ª
37
4 5 3 4 2 4 2 3 1 5
3 4 2 4 2 3 1 4
2 5
3⁀2
& 2 1 5 1 2 3 5 2 1 5 4 1 2 4 5 4 + 1 2 1 3 2 2" 3 2 4 3 ª
40
4 5 4 1 4
4
4
4⁀5
1 3 2 1
104
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XXXVI PRELUDE IN D MAJOR 4 5 1
4 3 1 1 1 3 6 1 ª 1 1 Allegro
3
6
5 4 2 1
3 4 3 1 1 4 3 21 3 5
ª
1
5 3 2 1
4 2 1
4 2 1
GAVOTTA, BY CORELLI
1 Allegro
5
3 1
2 1
ª
3 2
ª 5
5 3
5 2
1 3 1
2
4 1
2
5
& 1 4
4
5 3
4
3 2 1 1 1
5
2
5
2
5 2
2
4
1
1 & 3⁀2
5 4
4 2
2 5
5
3 2
4
3 1 1
3⁀2
1
1
5 3
4
3 5
2 2
2
1
4 5 3 4 & 1
1
2
3⁀2
3
4
1
4
PRELUDES AND LESSONS
105
LESSON XXXVII MINUET IN ARIADNE, BY HANDEL
8
,
4
1
ª 3 dolce 4
Ï 2 3
5⁀2
3 2 1 4 2
5
1 3
3
3
5
5
2
5
1 2
4 3
Ï
3 2 & 1 3 5 1 " Ï p 1 2 1 2 5 4 3 4 5 1 2 1 3 5 2 3 1 5-2 5 1 2
4⁀2
2
3
& 1" pp 2 3 1 3 4 1 3 2 ª
4
Ï 1 3 3 3
1 2 3 4 5
ª
17
4 2 1 3 4 4 3 4 3 1 2 1 1 2 1 3 5 2 2 1 2
43 Ï Ï Ï 3 2
4
3 1 4 5
5 3 2
5
5
3⁀2
4
1 & Ï Ï Ï f
4
3 2 5 ⁀2 3 1 3 2 1 3 2 26 Ï Ï Ï pp 1 2 1 2 5 4 1 1 3 4 ª
4 5 4 5 4 2 3 2 3 1
4
4
106
34
#
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
Ï
4 1 2 1 & 1" 2 & 5 Ï Ï p Fine f 4⁀2
& "
ª
2
3
& 2 3 1 3 5 & 2 3 1 4 5 cresc. f . 5 1 2 5 ª 3 4⁀5
4⁀5
43
3
3
4 5 3 Ï 3 & 2 1 3 4⁀5
51
4
ª 3
4
3 2
1
2 4
3
4
Ï
3
1 3
3⁀2
5
2 1
4
1
3 4
2
4 1
4⁀2
2 4
& 123 3⁀2
2
dolce
1
2 1 3 2 3
5
4
5
5 3 2
5 & 1" Ï Ï 1 1 3 4 2 3 1 5 3-5 1 3 2
4
Da Capo al Segno
PRELUDES AND LESSONS
107
LESSON XXXVIII
MARCH IN THE OCCASIONAL ORATORIO, BY HANDEL 5 2 3 42 3 42 3 2⁀4 3 1 1 4 1 4 1 1 2 2 2
1
ª 4
5 2 4 31
1
2
4 5 2 1
3
4
5 3
3 2 1
5
2
1
3
1
2
5 3
2 1 3 4
3
2
3 & 1 1" 2 8 1 2 3 2 1 2 2 5 4 5 3 4 3 1 1 4 3 4 3 1 5 1 ª 5 4 2
1 ª
4 2
5 4
5 3
4 3 4 5 4 2 1 2 3 2
5 3
2 1
5 1 4 31
5 2
4 2
3 4 1 2
4 2
3 4 1 2
1 5 3
5
4 1
2 1
1 2 3 4 5 3
21 3 2 5 4 1 4 1 5 1 4 3 ª 2 1
4 1
4 2
5 2
4 1
4 2
2 1
5 5 2 4 2
4 1 3
4 1
4 1
3 1
5 1
4 1
3⁀2 3 1 2
5 3
5
4 1
5 3 5 3 2
5 5 2 4 2
4 1 3
3 2
5 2
4 5 1 3 1
5 4 3 2 4
4 2 1
1
2 1 4 4
5
108
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
5 2
4 1 2 3⁀2
5 3 2
5 4 2
3 2 1
3 2 1
3 5 4 & 1 3 2 &
1 1 1 2 3 4 2 2 1 3 ª 4 2
28
1
3 1
1
4 2 1
5
4
PRELUDES AND LESSONS
109
LESSON XXXIX WALTZ, BY BEETHOVEN Presto 5 4
3 4 ª 3 4
2 1 4 2
5 4
5 3 2 1 5 2 1 2 3 5 3 4
5 2 ª
1
7
14
ª
21
5 4
5 3
2
5 4
5 4 2 2 1
2 5 4 2 1 4
1
3 2
1.
Fine 2.
2 1
5 4
ª 2
5 5 5 3 3 2 3 1 4 4 1 4
1 ª
27
5 1 3
4
4 1 2
3
2 4
110
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
5 2 ª
34
40
ª
D.C.
PRELUDES AND LESSONS
111
LESSON XL ALLEGRO, BY CORELLI
4 5 1 5 2 1 5 1 2 1 2 3 5 3 2 1 2 4 1 2 4 1 3 2 ⁀1 4 1 5 2 5 1 ª
5 1
2
1
2
5 4 3
5
5 5 3 1 5 2 1 5 4 1 3 3 2 3 3 5 3 1 2 1 2 1 1 4 1 2 1 1 1 ⁀2 2 3 1 5 4⁀5 ª 5 1
2
1
3
5 1 5 3 1 2 3 3 2 1 2 3 5 3 2 1 2 4 3 4 1 4 2 ⁀1 4 5 2 4 5 1 1 ª
5
7
5 5 5 5 5 1 4 2 3 1
ª 2
4
3
2
2 4 3 2 1 5 4 2⁀1 1
2
1
2
4 3
2 3 1
2
1
112
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
4 3 2 5 5 4 5 5 4 5 5 9 1 2 1 1 3 2 1 3 2 1 2 2 1 4
1 2⁀1 5 1 5 1⁀3 5 4 ª 5
2
2 3 4 5 2 3 4 5 2 1 5 4 1 5 4 5 2 5 2 5 1 5 3 4 2 2 3 4 4 2 ª
11
5 5 5 5 5 2 2 2 1 4 3 1 3 4 1 5 4 5 2 5 1 5 3 4 3 1 5 2 4 2 ª
13
%
15
2 5 2 5 1 5 3 4 2 5 2 5 1 5 4 5
ª 1
4
2
1
4
2
5 5 5 4 4 3 4 2 3 1 2 1 1 1 4 5 2 ⁀1 4 5 2 1 ª
17
2
PRELUDES AND LESSONS
113
2 5 4 5 2 5 3 4 3 5 1 5 1 4 3 4 2 4 2 5 4 5 1 4 3 4 5 4 3 1 2 ª 1
19
5 5 5 5 5 4 1 2 3 5 3 5 4 5 4 3 4 2 4 2 4 3 2 1 1 4 1 1 3 5 4 1⁀5 ª
21
2
3 5 3 4 5 4 1 1 4 3 4 1 5 4 5 2 4 3 4 2 5 4 5 1 4 3 4 1 5 4 5 + 2 ⁀1 1 4 2 ⁀1 5 4 5 1 ª
23
1
2 3 1 3 1 4 1 4 3 4 1 5 4 5
2 ⁀1 1 4 2⁀1 4 3 2 1⁀5 ª 3
25
2
1
5
4 1
5 3
5
1
2 ⁀1 5 4 5 2⁀1 1 1 ª
27
1
4
3
4 1
5
4
5 2
4
3
4
1
3
2
3
5 4
2 5 4 5 5
4
5
4
114
29
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
3
ª
3
5
4
5
1
2
5
1 p 1 4 3 2 1 1
5
1
2
5
3
5
5
PRELUDES AND LESSONS
115
LESSON XLI PRELUDE IN B MINOR
5 3 2 1
" " " ª Moderato
1
3
4 2 4 3 2 1 3 2 " rallentando ª
4
5
4
3
2
4
5
3
5
2
3
4
3
3 5 2
1
1
GIGA, BY CORELLI
5 5 2 3 4 2 3 5 4 5 2 1 2 3 1 12 8 2 2 1 1 1 1 ª Allegro 5 4 2 1 4 2 3 5 3 1 2 4
3
4
5
5
4-5
4
3
5 5 4 4 1 4 5 2 4 3 4 2 1 3 2 4 2 2 1 2 4 1 3 4 2 4 2 3 1 2 2 2 2 1 1 4 3 2 ª 4
5
4
1
116
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
4 3 2 3 4" 5 5 5 5 4 4 4⁀5 4 2 3 2 1 2 3 1 2 1 2
1 1 2 2⁀1 1 7 4 3 5 4 3 4⁀5 ª 7
11
11
14
14
5 3 3 1 4 2 1 4 2 1 5 4 3 5 2 5 3 1 5 4 1 3 4 5 2 3
4 2
3 5
2
2 )
1
3
3⁀1
5 5 5 4 4 2 3 4 2 3 4 4 2 5 3 5 1 3 2 4 1 4 5 3 1 2 3 2
ª 3
2
5
4
1
3
2
1
4
5 3 2 5 4 5 3 1 1 5 4 2 5 2 3 5 3 2 1 2 17 5 4 3 2 ª 3 17
PRELUDES AND LESSONS
117
LESSON XLII PRELUDE IN E FLAT MAJOR
3 1 2 ª 4 5 1 2
Allegro
5
ª
3
RONDO BY C.P.E. BACH
2 " 4 p ª 2 4 9
,
ª
2 1
4 1
3 1
5 5 4 1 2 1
4
3
5 4 2 1 2 2
p p 2 ff " 1 " " " ff 5 4 2 1 31
2 3 5
5 4 1 1"
ff" 3 1
4 3⁀5
3⁀4 3
& Ï 1 & " p
ten
ten
118
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
" "
2 4 1 ff 2 1 1 2 1 " ª "
18
27
"
ª
"
ff 3 41 23 23 1 5 4
p
"
5 4 5⁀4 5
5
& " p ten ten
p
" ª
36
2 3 2 3
2
3 1
1 2 1 2
3
ff 1 2 3 2 3 4 3 5 4 5
p "
f 5 1 2 4 3
2
3 1
2 1 4 2
2
3 2 3
2
23 23
23
5 1 " 44
p
mf " ª 4 1
5 2
"
4 1
5 3
3 1
PRELUDES AND LESSONS
" " p p ,
" " " " ª ff ff 62 & Ï Ï ff p ª 53
119
ten & Ï ff" ten ff
p
5 4 3 1 " 1 4 2 3 2 1 1 3 3 2 1 p ff ª
72
5 4 3 1 3 2⁀4 3 2 5 pp ) 4 2 ª
81
3
1 2
1
"
5
& Ï
ten
2 ff 4 1 3 ten " ff
120
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
90 1 & . ª ª
98
&
&
ten
ten
"
p
"
f
"
" ª ff
107
p ff" ª
116
"
5 5 4 1 2 1
2 " " "
p
p
4
p p " ff
5 1
p ff"
"
p"
ff ª p
123
PRELUDES AND LESSONS
" " 132 "
ff ff " " ª p 141 & " . p " ª & 149
ff p
ª 160
1
ª
p f mf
121
"
" "
f " ff p
f
"
" ") ff
" " p "
"
"
122
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
ª
169
f
" p # " " "f ª
178
"
4 1
p "
1 2 1 2 1
1 2 3 2 2 1 2 2 1 2 1 1 3 4 4 ª " "
187
4 5 4 5 1 2 1 2
4 1
5 2 41
4 1
4 5 4 5 1 2 1 2
5 2 41
2
3 2 3
2
3 2 3
1 2
"
"
ff ª "
ff p " p
.
196
205
2 4 5 1 3
ª
ff
2
"
PRELUDES AND LESSONS
214
ª
223
" p " " p
ª
&
123
& Ï & " 6 ten p
ten
6 " " &
1 1 2 3 3 ª
232
4 5
2 " " 2 1 1 1 3 2 2 1 1 3
ª
239
243
1
ª
1 4
1
1 3
1
1 3
2 1
3⁀4 1
4 2
p "
"
4
3 2
124
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XLIII 5 Moderato 2
3
$
4 3 1 1 2 1 5
3 2 5
1 3
2 2 2
5
MINUET, BY SCARLATTI 5 2 1 2 1 5 2 5
5 2 3 2 1 1 5 4 3 5 2 1 5 4 2 4 2 5
43 3 5
1 3
2 4
2 4
& 3
ª
13
ª
1 2
1 3
2 4
3 5
2
3 4 4 4 2 1
legato
7
PRELUDE IN C MINOR 4 5 5 4 5 5 4 5 5 5 4 3 4 5 1 2 2 1 1 1 1 2 1
5 4 2 1
1
1 3
ª
3
4
5
3
2
1
5
3⁀5
1
1⁀2
5⁀2
1
4 5 3 &
2
3
5
3
" ª
2
2⁀1
5
3
2⁀1
2 4
1 4
"
3 5
3 1
2
2
2 2 3 1 2⁀1 5 4 5 Ï & 3 4 1
2 4
4 5 2 5
5 3
2⁀1 43
1 3
5
2
4
5
1
5
5
5 2
1
2
PRELUDES AND LESSONS 19
ª
1 Ï 4 2 3 5 3 & " 15 41 " 15 2 4 1 1 3 5 4 3 1 1 3 1 5
1 5
5 2
1
5 2
125
1
126
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XLIV PRELUDE IN A MAJOR 5 3 2 1 2 5 5
1 3 5 5 4 6 2 3 1 2 5 3 2 1 5 4 " ª 3
3
2
5 5 3 2 3 2 1 3 2 1 " 1 2 1 3 2 3 5 ª 5
2
ANDANTE ALLEGRETTO BY PARADIES.
5 2 3" 1 2" & 1 3" 1" 2 4 1 1 2 1 3 3 5 5 ª 2
4 5
3⁀2
&" 5 2 3 1
1 1 3 2 4 5 3 " 1 4 1 ª 2
3 & 1 3⁀2
8
(
545
5
& 2 5 2 3 " 5 2 " 1 2 1 3 3 5
4⁀3
&" 5 2 3 1 1 5 3"
4 3 2 (
545
& 1 5 1 5 2 5 3 1 2 3 1 3 1 4
3⁀2
5 & 4 " " 2 1 1 3" "
5 4 1 2 3 5 (
4
p & 1
&" 5 2 3 1
" 1 2 1 ª 2 p4
4 3
17
545 (
PRELUDES AND LESSONS
( &" & " 1 3" 1 3" 2
5 4 3 5 (
545
5
127
"
& " 1 3 2 1 4
Fine.
" 2
f
1 Ï 1
2 2 ⁀ 3 3 4 1 35 4 1 2 5 32 3 3 5 ª 5
26
3 2 5 4
2
1 3
3
2 4
3
2 4
3 2 3 2
4 1
3 1
4
3
3
ª
34
ª
Ï
42
Ï
& &
" p &
f
D.C. sin' al
128
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
4" & 1" " 2 4 5 2" 1 2 5 Ï Ï Ï Ï " " " " " " ª
50
3
"
* " ª
58
p , ª "
66
1
4
4
" &
"
& " "
" "
"
Ï
f D.C. sin' al Fine.
PRELUDES AND LESSONS
129
LESSON XLV PRELUDE IN F# MINOR
3 5 2 1 5 5 5 2 4 1 2 1 + 2 1 2 2 3 5 ª 2 3 4 Moderato e legato
5 ª
7
1
2
ª 2
3
2
1
5
ADAGIO BY CORELLI. 5 5 4⁀5 5 4 32 1 23 1 2
2
2
4
4
ª 3
2 & 1
2 3
5
3
2
4⁀5 12
5
⁀
7
2
4 1
5 2
1
5 1
3
4
3
4 2
2
4
&
1 4 1
3
ten
1
1 3 1
5
4 2
2
1
2
1
5
3 1
5 2
5 1
4
3
1
5
5
4
5
3
5
2
4
3⁀4 2
5
3 1
ª 2
20
5 1
ª 3
2 1
1
4⁀3 1
&
1
2
4 2
3 1
5 42
2 3 1
4 2
4 1
Ï
2
5 21
5 1
3
2
Ï
4
5 3
3
4 2
1
3
& 1
4 21
4
3454 1
5
3⁀4 2
2
1
1
2
5 2
3 1
2
4 2
3⁀4 2 5 3
⁀
13
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
⁀
130
4 1
& 1 2
2
3
5
4⁀3
2
PRELUDES AND LESSONS
131
LESSON XLVI PRELUDE IN A FLAT MAJOR Moder. e legato
2 1 1 2 1 1 2 3 3 4 # ª 3 4 3
3
5
1 2 4 2 1
5 2
4
4
2 1 2 4 1 2 3 5 1 4 1 p rallentando ff 1 2 5 ª
5
4
1 5
4 2 1 2
2 3
1 2
3
3
SLOW MARCH BY COUPERIN.
*
Un poco Andante. 343 4 1
ª
% 2
% 2 4⁀#3 1 2 3 4 5 2 4 Ï 1 1 2 323 %4 2 1 3 5 4 343
4
121 5⁀4 (2 2 & 4 # 3 " 4 ª
2
5
4⁀3
5
3
4
# 4 1 3 4 5 2 4⁀3
323 (3 4 (4 5 4 2 1 5 4 212
1
132
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
121 343 5 343 432 4⁀3 4⁀3 4 5 # % 2 1 3 4 Ï 4 % 2 # 1 2 ( 3 # 2 " Ï Ï " ª
10
5
2
1 2 3
4
2
3
32323 4 4 2 2 3% ( " 5 4% 3 2 3 % 2 1 3 1 3 4 2 1 3 4 Ï , 2 3 4 2 1 1 2 3 4 3 2 5 4 3 2 1 2 3 2 1 2 3 1 ª 3
15
4
3
2
#
( ( ( # Ï Ï (
# 25 % % # Ï Ï
ª # % % 1 % ª 3
20
30
%1 3 4 2 1 2 1 3 ª % 3 #
2 3 1 2 3 1 4 2
4
3
#
"
# " 4 2
1.
(
2.
PRELUDES AND LESSONS
133
LESSON XLVII PRELUDE IN F MINOR 1 5 3 1 4 3 2 2
"
#
5 3 2 4 3 2 1 3
Moder.e sempre legato 5 3 2 4
ª
1 3 2 5
3 1 2 3
1
"
3
"
5 " 1 1
3
2 5 2 2 1 5 3 1
3 2 1 2
2 1 3 2 5 3 2
ALLEGRETTO BY COUPERIN
6 1 2 & 1 8
% 3 2 3 5 1 5 4 ª 6
8
Più tosto Vivace. 2 2
6 & % 4 1 3 " ª
& Ï 1 12 2 ª 3 1
4⁀3
2
& 3 2 4⁀3
5
5
4
&
2
Ï
"
3 4 1
5"
3⁀2
& 3 % 2 1 3⁀1 1
1 1 2 3 2 3 1 2 3 5 " 4⁀5 2 1 4 4
ÏÏ 2 3
% 1 2 3 1 3 2 1 4 3 4 3232
1 4 2 1 2 3 4 3 2 3 4
4
4343
4⁀3
3
134
17
"
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
& & ( %
4 " 3⁀5 1
% ( ª
" 1 3⁀1
1 5
PRELUDES AND LESSONS
135
LESSON XLVIII PRELUDE IN E MAJOR
3 2 3 5 2 3 1 2 2 3 2 3 4 2 1 2 2 2 3 4 5 2 3 1 4 1
3 4 3 2 3 2 3 2 3 2 1 3 2 3 4⁀3 4⁀3 ª 2 4 3 3 3
ª 2 5 4 3 1 3 2 1 4 5 1 2
5
2 3 4 5 2 3 1
3
4
⁀
1
2
53
1
5
4
3
4
& 1 3⁀2
1
2
3
1
4 & 23 ⁀
6
2 3 2
POLONOISE AND MINUET, BY SEBASTIAN BACH
4⁀3 3⁀4 3 4 5 4 5 4 3 & 1 2 1 3 4 3 4 3 3 & 4 % 1 2 3 1 3 1 3 2 4 2 5 2 4 1 3 1 4 1 5 2 1 5 3 2 ª 3 4 Andante
Polonaise
4 5 4 1 2 5 1 2 3 1 2 3 3 3⁀5 1 1 2 3 3 2 3 1 2 1 5 1 4 2 1 2 3 2 5 ª
5
2
1 2 3 4 2
136
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
ten 5 & ten 4 3 3 10 2 1 4 3 1 4 4 3 2 1 3 1 2 1 4 1 2 1 1 ª 3 4 5 1 4 1 5 2 3 4 2 5 2 4 2 3 4 2 4 2
4⁀3
5
5
15
1 32323 1 2 3 4 ( 5
ª 3 4
1 5 3 2
% 3
5 4 5
2
2
3
5 1 2 3 2 1 2⁀1 2 5 1 2
1 2
1 2
4 2 3 1 4 2 5 1 ( 1 1 2 3 4 Ï 1 2 3 1 2 2 1 1 2 3 1 5 1 1 5 5 ª 2 3 5 5 5
20
5 4 1
3 4 ª 3 4
2 3 4 5
1
3 2 1
4 2
ª 2 1 2
7
4
5 5 54 4 4 1 2 1 1 2 1 3 1 1 3 1 2 1 5
Allegretto
Minuet
1
3 2 1 5 4
3⁀5 1
4 2
5 3
5 4 3 1 3 5 2 1 4 3 1 4 1 2 1 5 3
1
3 2
4 1
PRELUDES AND LESSONS
1 4 2 5 4 2 1 3 4 5 3 4 1 5 2 1 ª 5
13
ª
19
1
1 2 3
4 2
5 3
3
137
4 3 1 2 3 1
4 2
5 3
2⁀4 4 5 4 3 1 1 4 3 2 5 2 3 5 Ï
3 1 1 2 2 " 5 5 3 4 3 2 1 3 2
5
1
138
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
LESSON XLIX GAVOTTA, BY CORELLI
(
Allegro 5 5 5 5 4 2 2 2 2 4 3 1 2 3 2 1 2 1 1 3 2 3 4 st
d
1 time piano 2 time forte. 4 2 3
ª 2 4
3 2
5
2 4 3 4 2 5 3 5 &
4⁀3
5
1 ª
1
2
2 &
3⁀2
11
ª
2
1
1
2
4
3
2 5
2 4 3 4 1 5 4 5 2
2 3 1 5 5
4
3
2
5 4 5 2 & p 2 1 5 4 1
5
PRELUDES AND LESSONS
139
LESSON L PRELUDE IN C# MINOR
4⁀5 23
4
5 3
Moderato
dolce
3 5
2⁀3 45
4⁀5 23
4 2
3 1
1 3
2 4
2 4
4 2
) 1 5
4
" " rallentando " 5 ff 2 ª
5 p
p
7
ª 1 5
2 3
Fine.
4 3 2 1 2
3
2 3
3 5
5 1
"
"
3 1 2 4 3 2
Moderato
4 2
MINUET, BY DR. HAYDN
ten 3 2 3 2 1 2 3 1 3 4 3 4 2 4 1 1 2 4 3 2 42 5 ª 3 4
5 1
p
1 2⁀1 1 5 5 42 3
4
4 1
5 3
3 1
3 5
3 5
3 2
3 4 1
2 4
4 3
1 2 2 1 2 3
3 4 1
2
140
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE
3 3 1 1
2 3 3 5 ª
13
18
1 2 5
ª
5
Ï
3 4 1 Ï 1 2 ff 4 4 2
3
5 5 3 4 3 2 4 1 3 2 1 1
D.C.
