WELL-KNOWN
SOLOS
PIANO
//
TO
HOW
THEM
PLAY
BV
CHARLES
W.
WILKINSON
REVISED
EDWARD
ELLSWORTH
BY
HIPSHER
PHILADELPHIA
THEO. 1712
PRESSER Chestnut
CO. Street
by Copyright,
Theo.
igis,
Presser
Co.
Index
by Composers
(For Alphabetical Index,
see
281.)
page
PAGE
Coucou,
Le
Arensky:
Op.
No.
34,
2
13
Bach:
in A
Bourree
Fantasia
Gigue Loure
in G
:
16
Chromatica
in G
Barili
(English Suites)
Minor
17
(French Suite) (Third
Cradle
20
Suite)
Violoncello
Song, Op.
22
26
18
Beethoven: in G, No.
Minuet "
Moonlight First
"
"
Movement
"
Movement
31
"
33
35
Andante
"
"
Variazioni
con
.
"
Second
Movement
Third
Eroe
d'lm
First
"
Sonata
con
Third
Borowski:
Brahms^
"
46 "
48 "
52
Fuoco
con
Minor, "
Grave
"
"
Presto
in C
Op. and
"
"
54
13:
Molto
Allegro e
"
57
Movement
Adagio
"
"
Movement
"
"
60
"
Rondo
62
Spinnradchen Mazurka, Variations
Brahms:
"
44
Menuetto "
"
"
Second
Morte
"
Scherzo
"
"
Movement
sulla
3:
Allegro "
Movement
Brio
No.
"
Pathetique
First
Bendel:
"
Movement
Fourth
Allegro
31, "
Movement
Third
Philipp:
38
43 "
Flat, Op.
Second
.
41
Funebre
Marcia
"
Movement
.
"
Movement
in E
Sonata
" "
.
"
Scherzo
"
Movement
Fourth
:
26: "
Movement
2
"
Presto
"
Flat, Op.
in A
Allegretto
"
27, No.
"
Sostenuto
Adagio
"
"
Third
First
Sharp Minor, Op.
in C
Movement
Second
Sonata
29
2
Sonata
65 Op.
and
2, in C
Fugue
Hungarian
Minor
on
a
67 Theme,
Handel
Dance, iii
"*"50*"f?'"
No.
7
Op.
24
71
76
iv
Index
by Composers PAGE
ChaminadE:
Op.
Automne,
Pierette, Op. Scarf
No.
35,
82
41
(Scene
Dance
Serenade,
80
2
Ballet)
de
84
Op.
29
86
Op.
57
89
Chopin:
Berceuse,
P|iiHp in
Flat, Op.
G
Nocturne
in F
Nocturne
in
G, Op.
Pplonaise
in
C
Prelude,
Sharp
Op.
5
Major, No.
37,
Sharp
Flat,
in A
Prelude
No.
10,
Op.
15,
2
93
96
2
Minor,
No.
91
No.
Op.
26
98
17
28, No.
loi
15
Valse
in A
Minor,
Op.
Valse
in C
Sharp
Minor,
in
Flat, Op.
103
34
-
104
Op. 64,
No.
106
2
.
,^lse
D
64, No.
108
i
Debussy: Deux
Arabesques,
No.
i
Deux
Arabesques,
No.
2
Plus
La
D^LiBES:
Pizzicati
Durand:
First
Dvorak:
Humoresque,
Elgar:
"
from
Waltz,
116
Sylvia
Op.
"
119
83
Op.
d' Amour,
Salut
115
Valse
Lente-
que
112
121
No.
loi.
Op.
7
123
126
12
Godard:
Second
Mazurka,
Second
Valse,
Valse
Op.
Op. 56
Chromatique,
Gottschalk:
Last
128
54
130
Op.
88
133
Hope
136
Grieg: Berceuse,
Op.
Butterfly, In
Mine
38, No.
Op. Own
Once
upon
Norwegian
Wedding
141
Time
Bridal
Day
No.
43, a
140
43
Country,
Birdling, Op. "
i
at
Op.
43,
No.
3
143
4 "
and
144 "
Puck,"
Procession,
Troldhaugen,
Op. Op.
Op. 19,
Nos.
71,
No.
65, No.
i
and
3
145
148
2
6
150
Index
by Composers
v
PAGE
La
GuTmann:
Sympathie,
Op.
154
39
Handel: in G
Chaconne
(Lecons
Blacksmith
Harmonious
Tarantella
Heller:
The
Jensen:
Le
The
85, No.
2, No.
No.
160
3
163
4
166
3
Op.
82
168
Papillon, Op.
18
171
Second
Leschetizky:
Op.
17,
Arabesque,
LavallEE:
Lladow:
Flat, Op.
in A
Mill, Op.
Valse
Lack:
158
d'Amour,
Repos
HensELT:
156
III)
Op.
Nocturne,
Music
173
12
Box
175
Liszt: Veneziana
Regata
177
Waldesrauschen
MacD
1
79
dwell:
A "
Tone
Scottish
MDCXX,"
Of
Op.
B'rer
To
a
To
the
Picture,
Op.
No.
55,
No.
31,
182
2
184
3
Rabbit,
Op.
61, No.
2
186
Rose,
Op.
51,
No.
i
188
Wild
Sea, Op.
No.
55.
189
i
Mendelssohn:
Spinning Spring
(Songs Without
Song
Etincelles, Serenata,
36, No.
Op. Op.
Op.
73,
30) No.
194
198
i
200 201
i
(Symphony
Menuet
Mozart-Schulhoff:
No.
192
6
No.
15,
Words,
Venitienne,
Esquisse
Moszkowski:
in E
Flat)
204
'
Paderewski
:
Melodic, Minuet, PiEczonka:
La
Ravina:
Rheinberger:
16, No.
Op.
Op.
14,
Polish
No.
208
i
Chivalry
Fileuse, Op. Etude
206
2
211
in C
Prelude
Rachmaninoff: Raff:
Without
(Songs
Song
34)
No.
Words,
157,
de
Style
La
Chasse,
No.
Sharp
Minor,
Op.
3,
No.
2 .
.
213 215
2
217
Op.
5,
No.
i
219
vi
by
Index
Composers PACE
Rubinstein: Melodic
No.
3,
Flat,
222
i
Op.
No.
44,
225
i
Cavalerie
du
Scarlatti
Op.
E
in
Romance
Trot
F,
in
227
Burlesca
:
229
Scarlatti-Tausig:
Pastorale Polish
Scharwenka:
Capriccio
e
Op.
Dance,
3,
231
No.
232
i
Schubert:
Impromptu
in
A
Flat,
Op.
90,
Impromptu
in
A
Flat,
Op.
182
Ave
ScnuBERT-LiszT:
No.
234
4
236 238
Maria
Schumann:
Op.
Arabesque, Aufschwung, In
der
18
241
Op. Op.
Nacht,
Op.
Nachtstiick,
No.
12,
Op.
2
246
5
No.
23,
F,
in
Novelette
244
12
249
4
No.
1
25
i
,
Papillons, Bird
Op.
Song, Valse
Sibelius: Sinding:
ThalbERG:
Op.
Prophet,
as
Slumber SchuTT:
253
2
Op.
Rustle
Deux
24,
No.
16, No.
263
2
265
9
(Friihlingsrauschen),
Spring
Airs
258
16
Op.
Op. of
No.
124,
Mignonne,
Romance,
260
82
Op.
Russes
32,
No.
3
267
270
Tschaikovsky: Chant
June -Iroika
Sans
Paroles
(Barcarolle), (November),
in
Op.
F, 37,
Op.
Op.
2,
No
6
37,
No.
No.
3
273
276 11
279
1
Foreword
A
undertaking
N
of
author
living
a
confronted
with
That
task.
is for
professional in
shall
order
text,
technical
changes
visits
to
their
sacrifice
to
of
America,
author
the
which
adds
so
instances
some
in
brought
the
text
good
it
to
has
suggestions in 7
as
to
which,
the
common
has
miliar fa-
made
style of
his
best
methods
teaching
been
more
been
has
task
easy
it
thought
been
results
to
interest
the
and
several
words
intimate
the
much
no
synonyms
effort
earnest
idioms
after
Wherever
these
the
necessitated
those
piquancy
phrase.
an
from
least
been
has of
such
destroying
without
author,
it
for
the
Indeed,
some
soil, lend
substitute
to
in
have
tions distinc-
nicest
America
and
verbiage.
conventional
necessary
In
apology
preparing
In
colloquial
the
England,"
native
and
so
the
"Merrie
in
Britain
of in
editor
the
do
tions condi-
possible
rights
in
detract
to
difference
a
terms
some
talk
and
intents
the
wishing
original
on
that
made
be
existing
the
the
respected.
be
Without
for
requires
courtesy
once
of
may
edition.
new
a
at
deHcacy
to
only
work
the
is
work
this
the
of
one
the
adaptable
more
this,
revision
a
to
of
the
book. to
corporate in-
which
experience.
A
8
Sometimes
a
that
This
furnished. from
way
to
nor
the
cast
which
he
particular touched
a
the
will
be
Where
a
be
before
the
his
to
have
controverted, that
so
might
of
the
rest
sponsibility re-
the
on
have
been
A
only in
the
double
selections
replaced by
on
others.
this
by
to
different
separate as
which
form con-
ably prob-
indicated
pages,
has
by
been double
a
and
themes has
Repeated
one.
once,
text
this
divided two
sion confu-
discrepancy.
been
measure,
measure
with
readers.
our
has
single
bars
the
editions, used
by
pages
little trouble,
make
to
measures
counted
counted
of
a
belonging
measures
been
mostly
one.
parts
adjust
in
out
slight
but, with
;
to
the
some
American
in
printing
double
cause
able
several
the
between
has
appearing
few
be
abbreviating
or
aim
ones
rest
it
its two
been
the
of
parts
all
his advice.
adapted
to
to
measures
standard
as
had
A
will
only
sometimes
for
of
abbreviation
counted
bar,
work,
interpolations
as
passages
the
matter
to
an
any
difficulty,from
best
made
sometimes
may
student
this
by
repeated
numbers
to
careful
In
in
of
place
parentheses,
differ
sections
This as
the
statements
music
of
of
dots.
of
likely
in
wisdom
to
one
point
the
detract
been
valuable
been
these
placed
certain
use
the
has
party.
Editions of
has
difficulties
text
to
the
on
solutions
any
for
not
Wilkinson's
When
been
"guilty"
desire
case.
have
they
done
doubt
choose
upon
original
the
Mr.
of
two
may
in
been of
the
student
earnest
the
has
shadow
a
technical
overcoming
given
worth
Rather,
full
of
way
from
different
Foreword
usually passages
giving credit,
of
course,
endings. in
Mr.
This
Wilkinson's has
been
book
for two
have
reasons
:
Foreword
A
America
In
American
the
himself
the in
This
has those
with
largely avail
to
apt
Compositions
not
with
marked
are
in
has
it
an
represented
of
the
and
long
by
to
existed
the
bind
the
Edward
and
cially espeof
guidance
work
which
is
replete
wide
experience,
and
for
raise
of
pond."
the the
the
musical
hands
May
standard
friendly
of
feeling
fraternities
myself.
Ellsworth
has
It
clasping
the
can Ameri-
the
service.
of
closer
among
author
to
and
the
"across
help
Mr.
from
joy of
sion expres-
which
public,
preparation
pleasure
world
the
culture has
its
full
the
a
learning,
me
been
book,
fellow-worker into
musical
this
deep
of
much
another
going
removed
an
service
great musical
the
To
search.
public
the
rendered
of
without
fittingly
for
compiling
fruits
the
diligent
which
most
type
work
temporarily in
master,
its
appeal
not
book.
the
end
cannot
appreciation
Wilkinson
with
the
Wilkinson's
Mr.
labor of
had
of
of
use
would
(*).
asterisk
a
others
in
available
easily
not
are
student
of
originally
them
and
form,
convenient
to
of
some
9
Hipsher-
Thoughts
Stray
of
historians
the
musician
"A
"Music the
is not
is the
"Melody
difficult
is most
"To
be
and
produce."
to
of
of
but
which
it is that
and
Haydn.
"
artist, you
fingers,
the
Tapper.
music;
of
heaven,
Beethoven.
"
heart.""
the
and
Neighbors.
"
work
the
charm
true
a
poet."
a
simply
head,
the
hand,
also
is
heart."
human
the
earth
of
nightingales
The
"Musicians:
be
must
man."
true
a
"
Weber.
"In and
broad
a
the
sometimes
is
simplest
piece
every
sense,
music
of
the
is
a
study,
difficult."
most
"
Schmnann.
"Fame
usually
else."
something
about
"Simplicity,
and
of
those
who
are
thinking
Holmes.
"
truth,
principles
nature
are
beautiful
the
in
mental funda-
the
great
all
artistic
tion." crea-
Mendelssohn.
"
"Music of
one
to
comes
is the
not
a
of
means
products
most
subtle
lasts
longest."
physical of the
pleasure. human
is
It
mind."
"
Saint-Saens.
"Truth
"The labor of
it."
most
is the "
precious work
Tapper.
done
Mozart.
"
reward so
well
you that
can
you
receive may
for feel
your
proud
How
Well-known
Play
to
Piano
Le
Solos
Coucou,
34, No.
Op.
2
ARENSKY ROM
the
you
name
Russian
but
;
Slavonic. there
be,
heard
over
A
therefore,
spring bird a
or
the
no,
favorite
here
Arensky
this
grateful
it
is
a
careful
yet
not
pianist I my
heard
sketched
bird's
call
third.
in
a
;
be
and
and
few
this, and,
forward it
poet,
unworthy whose
Small, of
name
I
forms
The
handling.
readers'
look
widespread
out
is
note
a
each
Russian
it is
always
painter.
touches
of
So color
feeling.
major
it
all
musician,
for
has
the
Usually
is
should
why
music
of
Whether
call!
welcome
theme
piece we
larly particu-
bird's
the
a
Europe?
all
How
cuckoo's
the
to
since
joyous
attractive.
Indeed,
is
he
nothing
is
poser's com-
guess
may
here
the
of
syllable
last
gladly
a
place
appears
is
style
on
the the this
thought
notice.
13
third,
pastoral
to
even
in
minor
a
but
requires
and
insignificance,
repertoire front
page
should
be
here
of
the
; and
brought
it
is
great when to
Well-knowTi
14
in the
As
"oo"
the
bird's
long,
Otherwise, neither
and
notes
bird
nor
be
must
note
lift the
so
two
man
call, the
struck
be
may
At
the
slight
halt
will
You
can
perform.
At
should
B
before
the
f,
will be
lessen
who
are
D,
the
simply
of
delete
the
chief
point in what
of and
to
It is not
likely
are
first
There
position
of
of
doubt
a
bring
about
chord,
wide
or
fault, owing
fingering always
you
forget
which
to
Or
negligence
suggests
the
Perhaps which
perhaps at
next
your
and
"cornered"
insecurity.
The
the note.
gain
needs
certain
are
narrow,
so
fidence con-
remember,
can
from
disaster. or
lack
cadences
Then
what
if not
exigencies which,
and
the
dictionary.
the
always
majority
memorized;
be
easily enough
comes
melody.
will
to
the
then
that, given the
believe
from
this there
and
Probably
self-conscious.
be
piece.
Some
but
not
only,
beginner,
a
chords
may
a
memory.
through
say.
never
make
and
memory.
common
unusual
sharp, D;
for
memory;
piece
one
is not
labeled,
is at
the
F
times
they
so
"cannot"
you
The
few
a
by
word
one
the
a
thirds.
from
play
to
5,
zest.
more
and,
5;
Still I will
will,
determined
you.
it
it off"
with
them.
it
half-
skips of
as
each;
always
on
people cannot,
hinders
but
page
play
acquaintance
give
are
strain
fortunately "get of young
calls
on
the
in
present
tied
in rather
are
which
measure
the
hands,
chords
to
in
bar
small
feat
a
long
thumb,
capital piece
a
higher
octave
an
for
5 the
The
double
the
it is started.
together,
the
short, and
always when
pedal just
facilitated
notice
is
sound
Notice
this
Now
"cuck"
again by
top of page
position.
Solos
will
duly prolonged.
tenth
Piano
concern
ation apprecipositions mentally it is the
brings your
outset;
a
ing feel-
fingering for
good
Le
Arensky
These
;
journey his
(?
ax
^just "
if
free
as
and
the
mental
corporal
Red
be
only
play
twice?
first
the
why easy
sequence
not
of
passed
blaze
a
the
on
trail
with
confidence
ease
is
"
the
piece
Or,
to
through
once
it
narrow
why
measure,
is
attitude
will
notes
is and
become
down, two
not
sixteen?
mental
awkwardness restraint
with
you
not
safely
15
2
indeed,
will
Indian
followed
remember
then
or
and
if
why
can
measures;
A
to
and
No.
34,
may,
overcome
the
as
Ed.)
memory,
you
is
each
Then,
gained. from
if
and
"
Op.
stumbling-blocks
very
helpful
Coucou,
"
quite
stiffness.
not
as
absolutely occur
important
to
sary neces-
brain
the
to
avoid
;
in
Bourree From
the
A
Minor
English
Suites
BACH
FEW
days
played
the
of
strain
this,
played its
renew
and
apparently with
pulse this
One
in
itinerant until
which what
dance
frequently a
The
lovely feature
four-part the
measure
Gavotte,
them
Spain,
from
it in
precedes
of
of
the
is
Bourr^
beginning which
the
suite.
the
in
begins i6
on
on
the
strong weak
a
the
learn
and
Sarabande
a
key,
with
civilized
like
third
to
harmony.
we
over
cold
emphasize major
the
but
to
made
to
acclimatized
almost
instance
be
conversant
rhythms;
us.
The
four-part
became
carried
came
in
on,
of
seemed
can
in
ite favor-
both
though
as
later
old
fingers.
writing
Bach
became
Bourr^
The
how
musicians
they
music
second
a
An
Bach's
Bourr^,
and,
as
of
and,
second
three-
foreign
old
two-part
the
wonders
these
thin
heart-beats;
thinness,
is written
her
opening
the
solos.
sensitive
under
youth
hear
evidently
old
freshly,
so
it
concerto,
Bourr^
her
Davies
Fanny
to
this
to
encore
orchestral
an
Schumann
dehghtful
was
at
Miss
when
concert,
When
since,
that
Europe popular.
Sarabande,
By this
the
way,
suite.
rhythm up-beat, beat.
of like un-
Bach
To
it
play
So
much
of each
until
tuneful
the
Therefore
ring with its
has
afford
The
from
comes
of
is
together.
which
you
indeed,
may
of which
each
"
other
many
ascending
the
placid, owing
more
figure
staccato
from
ten
quarter-notes,
above-mentioned
the
the
to
preceding
the
to
contrast
frequent
also
and
them,
is
Much
the
is
indispensable.
28, 30
17,
equally
first Bourrfe.
the
Bourr^e
motion.
flow
measures
15,
is
young
right hand,
never
pitfall,notably of
second
parallel
7,
5,
of the
will
Great
to
which
part,
that
puzzling
"
a
conclusion
the
hand
a
attained.
be
stumbling-block
a
practice
hand
demands
style.
must
special difiiculty. But,
own
measures
in
pencil
a
hand
hands
two
several
are
left
the
separate
There
and
interesting as
and
conquered,
exclusive
is
17
music,
this
finger
motion
contrary
players; but, as
in
training
independence
Chromatica
in all Bach's
fluently, as
Bach
thorough
Fantasia
"
fuller
part-writing. The a
minuet
In
and the
to
one
the
marked this to
Bourr"s
two
is well
a
the
the
of
manner
song-form.
modem
the
opening
sharp-pointed out,
after
pleasing relief, afforded
this
arose
brought
dance
From
edition
Peters
with
the
trio.
other,
alternated
are
staccato,
it adds
much
is
quarter-note not
a
dot.
spirit and
If zest
rhythm.
Chromatica
Fantasia
BACH
Well few
pleased
notes
welcome.
on
After
I
am
Bach's some
to
receive
an
Chromatic short
lapse
intimation Fantasia of
time
that would
since
a
be
play-
Piano
Well-known
i8
ing this
with
back
in
old
grows were
music
could
musical
bias
would,
of
art
or
effect.
of
blotted
out
least
spared
confined
were
by choice,
be
world
the
His
save
music
; and
that, if
with
only
posers com-
Bach's
one,
prisoner with
a
books,
three
they
Bach's
and
Bible, Shakespeare,
the
the
said, if all
it is
and,
come
holds
Bach
perpetual youth.
worn;
be
strains
familiar
old
the
ravishing
quite
position
unique never
work,
splendid
Solos
Forty-eight. To
all earnest and it
feeling
I
it construction
and
inspiration this
fantasia with
that
in
sure
of
is
generally not
construction;
lacking,
but
formal
when
such
an
Yet
composer. into
romantic
passages!
understood
to
tied
down
find
we
intelligibleand
be
these
are
yet
perfect
a
on
vellous Mar-
day,
soaring
necessarily
and
the
it would
come
daring
the
or
eagle, prophetically feeling
an
How
and
design
to
years
fantasia
free
Bach
flight of
off years,
to
come
find
we
the
acceptable. A
have
attraction.
ruled
counterpoint
could
regions,
far
that, in those
seems
traction, at-
find
musical
less
the
magical
a
pupil wearying
a
indescribable
certain
a
has
found
Even
distasteful.
application
in
have
never
music
his
students
here
of
be
very rules
by
any
no
backbone
built
up
piano
with
structure
a
with
the
greatest unity. Had
aid
to
sonority
piano playing today,
he
probably
and
tone
of
editions,
pedal,
wonderful as
to
that
almost
we
such
masters
far
modem
possessed the
Bach
Busoni,
as
piece add
an
of
octave
call
may
who
them turn
"bravura" below
is the
which
bass
feature
endorse
the
arrangements,
by
would
the
fantasia
display. the
resonant
They
in those
into go
a so
grandiose
Bach
series rich
thus
of chords,
before
is
me
additions varied
in
dot,
scale
Peters,
and
of
the
Joachim,
superb,
a
the
runs
edition
the
with of
are
have
I
superimposed
light and
thus
attaining
shade
and
invention.
One
rapidly
the
to
Bach's
was
onlooker
and
keen
a
the
is otherwise
and
probable
where
hands
the
ment astonish-
causes
of
sense
two
than
manner
generally
recross,
on
broken
between
passage,
knowledged ac-
cease
rapid
greater brilliance
particular and
cross
The
divided
set
the
was
always
permissible.
a
This
who
should
Bach,
often
are
possible.
"gusto"
to
performer. The
minor
is to
get absolute
each
note.
pedal
chord, It
but
of
be
never
is diflScult
instrument
at
bass
27
little does
in
the
scending de-
and
difficulty
equal length
break
perceptible, At
wherever
for no
measure
there
is
a
scale.
how
Bach of
imperfect,
value
in
the
pedal
witty
could
the
sustaining tell
is the
in
course,
and
on
write his
pedal,
the
the
such
day if in
the istence, ex-
cially Espe-
tone.
deep, powerful
composer's
of
treatment
19.
diminished
and,
rather, no
pedal; for,
very
How
note.
fingering The
the
and
D,
indeed,
"
conceive
to
was
of
a
ascending
being employed.
used
on
of
or,
be
hands
may
piece without
scale
should
two
the
are
equality
There
suggestion the
roulades
opening
two
melodic
a
but
with
being
turn
no
passages
hands,
7
this, several
marked
trills, in accord
exponent
the
grand
tempo.
The
the
19
concert
a
unison;
old
the
carefully
are
on
than
hands
both
Chromatica
giving
Further
effect. for
set
Fantasia
"
as
seventh
it resolves
chord
readily
pervades on
to
another
the
ment; move-
a
semi-
tone
above
The
last
from
below,
or
series
a
of
subject
also
is
fugue
pedal bass,
chromatic
sinking
of
the
tonic
a
on
distinctly chromatic.
is
fantasia
the
six measures,
Solos
Piano
Well-known
20
in
French
the
and
chords;
tones. semi-
these
with
tinged
Gigue
formed
are
G
Suite
BACH much
How
hear,
"Play in
program Bach's
old
afford
and
us
bit
a
order
chronological measures
relief.
Beauty
of
hold
the
we a
open
midway, attention
the
genuity in-
marv^ellous
and
form
take
construction
to
interposed
or
always
antique
of
Whether
Bach."
of
do
formerly
than
frequently
more
emotional
of
place
beauty. This the
musical
least
theme. it
is
such
has
gigue
Like
that
of
animal
full
a
jolly, rollicking subject
that
with
the
is at
F
major
from
the
spirits.
There
is
in
theme,
variety being obtained
subject
at
themselves, find
Bach,
difficult.
ability parts
part any
is
the Not
to
follow
gained
inventions such
correct
contrasting
no
of
the
the
is it
the
only by the specially essays
of
part-writing task, of
flow
study
written
of for
studying
his two-
this
most
also
but
the
independent
the
this
of
study
continuous
technical
a
unfortunately
have,
who
playing
aurally
delinquent
English suites, inversion
the
by
pianists
neglected
only
once
bar.
double
fairly good
Many for
the
accord
in
hearer
and
three-
purpose.
gigue
and
If will
Bach
eventually First of
imprint part. finds
foremost,
memory
Sometimes
the
play
to
resolved.
difficult
more
and,
may
must
parts,
five
hand
fingers,properly have
critical
ability,
studied
before
is the
the
music
three-part
to
to
which
listening
of
well
be
voice
each
suspensions
this
listening
of
two
well-trained
the
art
gain
to
cially espe-
of
a
when
the
should
task
of
within
duet
really
inventions
two-part
he
study, and
movement
possessor
a
is
It
defective;
then
the
cleanly, especially
and be
contains
which
the
it hard
hand
separate
hand
that on
21
it.
play
and
G
following practical instructions,
the
profit by
in
Gigue
"
is
attempted. At
18
measure
diminution
without
Therefore,
be
there
must
where
the
sixteenth
play
these
two
down"
as
with
measures
ascend
note
and
is to
way
until
hands
under
the
double
of the would
if struck
use
sequence; for
each
triad
of
the
and, three
In
a
if
these
you
hear
hear two
both
remain
and
"up the
ence. differ-
right-hand the
upper
stationary,
beginning
passage
fingering
Czerny's
is fitted as
play
notes
is the
bar.
to
you
will
motion.
obhque
Particularly difficult after
help
except
if you
experimentally,
it will
the
is called
what
in
two
right hand,
Perhaps
appear.
measures
best
instance,
organ.
simultaneously,
down
rests
an
on
stood under-
sounding
is
piano
it would
as
for
notes
melody, the
tone,
be
always
the
on
measure,
two
one
But
of
this
in
down
part-playing
the
of
It should
to.
held
note
a
good example
a
alluded
difficultyabove that
is
with
chord.
such
Notice
possible, use
motives.
the
at
each
fingering as also same
the
11,
version inyou
fold three-
fingering
Well-known
22
Let
abihty
in
remain from
only
of
one
well
play
to
themes
and,
that
repeat
me
of
I make
conquered,
once
This
bold
remain
to
to
in your
in
*Loure
part until
ability
gigue
old
the
is the
success
this
and
memory;
suites
of
hand's
separate
practice.
happiest
last selections
the
each
assiduous
the
essential
the
the
Solos
Piano
the
comes
concludes
Leipzig Cantor; will
say
be
of
one
repertoire.
G
bourrHE Third
From
Violoncello
Suite
BACH This
bright piece
of
melody
there
yet
are
to
fugue,
it
so
This
those
students as
serves
time
we
in
clement
gives
While
type. the
top
little
passages
who
would
fine
(in
the
of be
a
the
sic clas-
chief
soprano),
and
stepping-stone
features
be
must
neatness
place
phrases
and
a
a
piece
"emotional"
the
first
of
study
to
are
which
The
melody."
execution
a
forget it is
counter-themes
many
beautiful
Music,"
the
at
to
such
an
part-writing bored to
by
a
something
up."
"higher
as
time
of
abundance
that,
all the
stays
made
are
vitality that
abounding
polyphonic
strictest
the
full of
so
audience
and
the student
is
are
Greek
to
be
of
fonn
and
beautifully rounded Consequently,
statue.
characterized finish.
as
"Absolute "romantic"
or
"beauty
to
of
by
the
greatest
the sible pos-
Bach"
period, staccato
first
the
In
When
the
hand,
do
notes
by
they
combination, let
measure, a
W
the
bringing will
moment in
2.
G,
F
it
converted
is best
sharp.
E.
into
five
count
smoothly
stroke, used
but
by
with
their
each
be
way
toward
side
of the
olaces
after
aid
in is
It
wUl
to
to
and
the
foot
and
pedal drop
size
pedal
by
a
be
may
"arpeggio
finger
has
7, the
bass
tone
gone
chords
The
tended ex-
and
i
the
of
the
to
measures
course,
little
the
not
on
its
each
on
and
at
similar
be
carefully connected
by
the
pedal
be
able
one
the
on
it
lead
development
must
of
and,
measures
hold
fingers let
full
the
full
the
of
and
1-2
to
the
use
places, just joining the harmonies the
sharp,
3-4
at
?Us nS ^rt Let
m
this
must
necessary
thumb-note.
the
a
of
fjje tr^,
The
and
The
hand.
to
hand,
left
later,
finger
divide
out
drawn
ordinary
of
bar
though
turn-I^
parts
beginning
the
at
sustained
must
"
property.
the
from
assist
key.
must
even
of the
of these
all hands for
the
five-note
a
will be
grasp
a
chords
chords
with
\fuU
weight
wiU
as
m
keys
the
of the
grasp
into
the
tone,
ot
^r
^he
of
keys
corne
following E.
sonorous
where
the
exactly
large chords
The
the
sharp-which
F
the
to
much
as
contact
in
comes
o^
ever which-
to
notes
beat
amount
primarily from
come
finger,
the
nght
the
for
lightly on
on
desired
the
out
fall
to
arm
or
When
aUowing
wrist,
of the
snap
bound
hand
first two
second
the
23
distinctive feature
a
the
faU.
on
the
loose
very
fight
a
may
as
is
single, as
are
them
hand
in G
Loure
are
drop
chord next;
about
again.
without while
then, to
pedal
just
touch This
the as
the
damps
well
at
mixing hands the
the
them.
are
hands
keys,
such
pared preM
lift the
previous
Well-known
24
and
harmony must
move
catches
of
hope
the
as
times
many
Solos
sustain
to
new
will
It
The
it.
of
snap
pedal.
the
on
is worth
but
the
quickly
as
noiselessly,
Piano
foot
finger, yet
the
require practice,
effort, for it is your
the
in
chords
playing widely separated
only
sustained
a
legato. The
second
begins
with
Period
I.
with
two
Then, and
three
at
work
especially,much alto
and
bass
in
singing,
with
and
Period
begins
charming
a
Period and
26
IV,
song-like, for
Period
major, such two
almost
mistakes
of
V
of
begins
those
with
43 on
as
the
the
on
the
the
ascending
part.
people
and
sists con-
from
motives
lowed fol-
notes
well
when
is
it
So
phrased.
two
last
in this
of
Period
Make
consecutive
they nuich fifths
place
hands
rately sepaoften
are
regard.
of
of
the
now
beat
first chord else
fills
singers
minor
flowing
more
the
Study
assurance,
your
tenor
particularly pretty,
(G),
other
each
of
relative
the
minor
"trio."
for
the
is inverted.
tender.
as
phrasing,
dissonances of
tonic
is
effect
motive
the
quite independent
three
23,
the
i6
measure
slurred
in
of
alto.
motive
of
rately, sepa-
four
like
of
same
usually designated
of
and
the of
hands
"development"
"springy"
the in
close
the
staccato,
one
and
25
a
The
parts.
having At
of
in
rests
at
hand
it sound
Make
Here,
leadings
the
to
right
occasional
III
by
the
left.
the
largely earlier
in
with
to
legato,
to
sustained.
done
be
must
bar,
similarly
changes be
to
parts
listening attentively soprano
treated
everything
ii,
voice
four
be
to
measures
double
first
the
period, following
in
38,
42
will of of
B
Take
IV. and
the
soimd the 51.
flat
first like
beauty Notice
Bach
Loure
in
G
25
"
that
their
that
have
you
accompanies
third
diminished
two
in
them
triads
bass,
the
and
minor
a
and
one
alternating. Observe
of
periods
evil
various
of
all in
classic
form
by
monotony
changes
marks
repeat
of
power.
scrupulously demands
it.
developing
your
the
balance
"
Then, crescendos
avoid
the
and
*
Cradle
Op.
Song,
18
BARILI
ERE
is
lullaby,
of
song
a
would
lull
it
music
Italian
grade, for
The of
piece
motion. here
its
the
the
ordinary.
you
do
tones
it
to
seem
"ting"
no
that
the
at
musical
Listen, your must
jerky
right
entirely
left
hand
part
alone
touch
that
the
There
must
be
strings.
the
of a
the
sharp
if
quality
till
with
contact
the
ment accompani-
the
would
you
of
out
indicate
to
tones,
composition
the
the
have
a
melody. all
first, last, and
"tune" be
genius"
of
lullaby. to
now
rocking
work
made
this
of
monotony
his
beginning have
mood
the
set
lifted
from
retain
cianship musi-
genuine
once
light, caressing
a
Throughout must
And
the
the
"stroke
the
such
hammers
wires.
really
has
float
where every-
little
Practice
with
at
dreamy
happy
composer
best
beyond
for
is
it
the
melody not
calls
measures
their
a
which
of
to
interpretation.
proper
by
By
in
type,
a
child
yet
music
core,
nevertheless
introductory
two
the
it
And
Technically
predominates. fourth
the
to
ing sooth-
her
to
croon
real
a
which
theme
slumber.
to
is
that
just
of
simplicity mother
that
Song
Cradle
a
no
endings.
is
of
harsh
The
a
the
truly
singing
neither
tones,
mordents, 26
time,
to
be
lend
that There
quality.
sharp which
sure
attacks so
nor
much
Barili
piquancy
to
gracefully
done.
Then
embellish
The
of
and
subdued,
was
humming with
one
At
last
but
great
may
have
measure
beats
of
the
follows
them
the
melody,
of
looked
what
as
they
"
singing.
fingered; that
they
immediately remain
must
tegral in-
an
disjointed
something
not
in words.
as
order
and dear
her
at
her
in
necessary
sweet
sing
to
difficult
tone-quality
same
is marked very
resumes
the
repeated,
expression
for
not
are
14
be
ceased
she
11
will
care
and
measure
melody
I of
case,
sound least
execution.
better
to
with
the
roughness
E
least
better.
In
beauty.
On
the
of
A
first
the
of execution.
G
the
its
disturbing 35 the
occurs
third
a
in
this
triplet
than
If you
can
of
two
racy accu-
particular
the
have
to
introduce
to
the the
triplet without so
much
pianistic figure
play
two
accompaniment
smoothness,
little
beat
subject of
the
the
E
and
the
length, gracefully
on
of
of
notes
even
However,
allow
between
the
exactly "crank"
a
the
that
sure
of
are
nearly
am
note
midway
be
20
triplets
done.
in
of
had she
precious
too
section
while
with
are
this
well
clear,
"sing"
melody
the
mother
be
to
are
phrases
Here
really
they belong.
Beginning
two
grace
to
as
them
Let
all
embellishments.
which
full of tone.
melody
that
melody
the
and
Hghtly
executed to
Have
27
apart. In
A
tones
of
if the
the
part and
the
i8
very
as
so
6, these
as
two
precedes
always
of cadence.
close
The
mind
sostenuto).
thoughts
the
be
are
(half voice).
voce
must
classed
they
measure
change
mezza
are
moderately
last beat a
trills
measures
(ben and
sweet,
in
beautify
first four
sustained
Bear
it that
or
Song, Op.
theme,
and to
see
with
the
turns
notes,
Cradle
"
notes
of
of
the
great
melody
Piano
Well-known
28
eighth-note
each
to
last
the
six
of
of
notes
the
the
taking first of the The
coda
fingers
the
of
the
piece,
much
work
They
must
the
at
fall
will
into of
third
each
Then
its
that
no
is executed
with
heard
like
cadenza
If
much
of
G
as
not
actly ex-
notes
instant.
same
remember
But
difficult
measure
easier
the
fall
ones.
for
the
left
chords
hurried,
distant
iairylsLud
the
must
be
melting
into
be
chord
the
Let
singing.
done
of
soft, each little
restfuUy,
whatever. been
it is because of
the
figure"
closing
major
has
space
nourishment
type.
voices
haste
no
"morceau," the
and
plish accom-
the
touch,
from
echo
an
The
the
on
ethereally,
be
airily
ment. scintillating accompani-
the
through
as
say,
and
to
sure
its most
"horn
soft
a
52,
scending de-
repetitions, very of
nicety
of
To
notes.
many
until
side out-
composition.
lightly
precisely
at
same
dreams?
the
single
tips
passages
to
the
as
neatness
done
sustained,
smooth,
of
purest
series
slowly acquired.
it not
May child's
with
the
the
leaves
the
tempted
am
finger is absolutely
be
with
is
hand
other
many,
is well
Beginning
the
require
may
piece
I
places of
place
companiment, ac-
the
at
two
remainder
sounding
speed
These
47.
the
testing
the
come
groups
each
stirring of
now
their
of
tinkle
groups
the
as
the
into
preceding
slowly, until
little
require,
all
the
only
accent
music
piano
"
and
45 will
as
this
44
And
thirds
as
at
window.
the
to
care
of
C
the
put
triplets.
lightly
as
with
great
dainty
the
then
accompaniment;
group
two
not
"
begins
Let
type. of
six
Solos
a
in
refined
this
given it there taste
unpretentious
is much
for music
meat
of
the
for best
*
2
No.
G,
in
Minuet
BEETHOVEN of
LIv
down
almost
of
tuning
soul
our
which,
minuet,
scarcely
covers
is
it
joy cheek
of
tone
eight
than
it is
sixteen
periods
of
note
less,
as
Absolute
hurry!
clear
cut,
single-note mature
realize
your
this.
the
yet
each,
cut
as
of
first
have
not
every
are
29
well
five not
more,
would
at
the
Don't
reposeful.
is
slur,
the
you
experience,
used
just
aim.
piece
Not
in
come
are
note
first
under as
Easy?
a
of
jewel.
your
phrase,
editions
we
whole
the
musical All
be
connected,
melody.
two
finest
the
must
spirit of
thirds
The
clear
first
So
form.
measures
neatness
The
her
themes
repeated,
one
the
then
the
complete
to
each
and
Four
itself.
simplicity and
each,
succession;
again
with
soul
the
a
nestles
she
as
thrill
What
page.
a
Powell, violin,
sections,
melody.
simple
this
half
the
little
this
is
repeated
many
Maud
precious
her
measures
direct
as
more
construction
In
a
its
hear
to
to
with
of
that
to
the
be
it
such
And
composer.
require
that
unless
effort
no
these
of
one
compositions
smaller ^
play
to
ting sit-
occasionally
enjoy
technically,
proficient
how
matter
no
us,
all; and more
fingered;
be
must
make the you but
any more
will
if, by
change,
any
and
singing to
legato it.
use
I Hke
last
two
of
note
a
measures
the
slurs
slur
is
reading
when
the
give
to
add
to
do
theme,
differently
little
a
will
the
to
tate hesi-
not
and
times some-
and
first
the
care.
hand
the
at
hand
the
the
last
the
breath,
for
in
greatest
lightly
to
accent
proper
the
Remember,
Then
singing.
or
thirds
you.
stopping
theme
eighth-notes.
repeated
require
first
the
dotted
Those
done
of
3 of
the
on
help
always
and
2
will
effect
the
give
to
measures
here.
full
Phrasing
the
built
are
of
throb
little heart
A
of
quality
finger just
to
yourself
accommodated.
beat
last
the
enable
you
Hands
be
must
At
find
you
Solos
Piano
Well-known
30
lifted
a
pause, back
drops of
note
the
next
slur. The
second
four-part
period
sixteenth-notes.
tones
with
the 6
of
in
7
and
2
The
those
first
a
the
the
slurs
its
interest
of
of
repeating
a
too
second
Do a
not
theme.
sixths
of to
spirited
more
thirds is
section of
as
measures
the
thirds
of Use
forget
sixths
and
long,
one
in
success
theme
movement
to
the
trio
the vary
phrasing will
pedal the
of
limpid Make
eighth-notes.
even
Your
beauty.
its
out
importance
similarly
saccharine
first
pearls.
of
run
one.
little
measures
and
The do
draw
and
value
to
previous
Its
the
throughout. when
I like
requires
eight
their
flowing,
little
the
and
phrase.
theme
almost
string
of
new
a
part.
of
phrase it
of
3
trio
than the
this
of
slight
not
of
measure
a
Measure
feeling
a
beginning
and
Do
harmony.
four
with
starts
well
determine
sparingly tone
color
Beethoven
"Moonlight
Sonata"
"Moonlight
"
31
2
Op. 27, No.
Sonata," BEETHOVEN
FmsT
Movement
Although
lifetime,
little
C
of
world
of
a
dark
interpret
to
boat
blind
at
My
an
first
own
sweeping
of the
earliest
usually
engenders.
Of sonata
purely
to
be
course, to
Even
typified we
psychological, their
the
Julia, and
the
boat
a
was
moon
this
feel
to
(surely
quiet
the
which
one
circumstances, of
pull
gentle
the
oar
triplet accompaniment.
from
know,
his beloved
feelings in
in
in
been
part
absorbing the
the
night.
stormy
harvest
words")
such
in
first movement
has
voice
is the
the
clouds
hurrying
failed
have
without in
boat,
the
can
there
"songs
of
that
who when
water,
Besides,
a
and
sonatas
of
especially in
the
associate
stories
lake, and
wild,
a
the
unauthenticated.
of
that
"
on
September, the
over
a
probably
moon
;
moon
motion
seems
me
life, I always
golden
on
left
The
composer's
the are
to
the
rising
affinity?
of
one
stuck
in
the
rising
moonlight
sonata.
and
it would.
as
know
this
Fantasia
una
impression, however,
across
on
some
music
window,
open
finale, has
with
the
floating by
girl playing
Later
Quasi
who
people,
is
which
aptitude
designate
to
of
composer's
the
after
many
it
marked
unfairness
the
to
as
certain
a
minor,
sharp
Beethoven
is
enabling
in
useful
Sostenuto"
title
a
there
here
yet
least
at
with
work
a
agreed
is
everyone
"dubbing"
"Adagio
"
that may
the the
hidden
embody
differing phases.
Yet
the
of
dedication
meaning his many
is
personal may
Well-known
32
associate
the
mood
and
have
interpret
to
The
of
their
that
so
be
may
and
balance
any
roughness,
his
to
succeed
the
only play
very
delicacy
utmost
musical
possess
Where
the
Notice
first
is
on
the
notes
of
chord
sevenths,
chord,
last
each
exert
the
them
out
The of
the
course,
measures,
to
on
pedal
the
and
as
in
the
aim
if you
will
with
three
the
get
three the
ascending
development. with a
distant equi-
common
diminished
more
If
measures.
of
inter\^als
half-steps,
double
the
second,
two
covering
the
sharp,
you but
need
this not
spell
can
keyboard. be
it may at
not
also
then,
seventh
then
one
read
should
where
should but
a
here,
So
you
is in
most
diminished
containing
eye
cry
exacting
finale, you
pedal
gain familiarity
once
you
fail
keyboard;
tonic;
Berlin
ideal.
a
the
tone
the
rendering.
refinement,
dominant
the
over
in
repeatedly
command;
your
and
players
young
arpeggios
at
taste
At
adagio correctly,
Beethoven's
to
near
the
of
endure
your
hiibscher!"
the
but
them
not
chasten
artistic
or
thoven Bee-
clavier"
weigh
would
lutely abso-
finger,
is beautiful.
with
of
note
of
Do
more
pupils, "hiibscher!
cannot
the
must
Rudorff
if you
the
and it
elegant,
with
wanting.
more
prettier, more
at
You
none
Professor
Hochschule, out
but
is
"well-tempered
your
satisfied
are
you
find
therelDy
touch
succeed
only delicacy on
vantage, ad-
to
stirred
of
delicacy
adjusted.
properly
the
until
note
every
sonata
soul.
the
would
Not
"adagio." ear,
of
if you
necessary
the
imagination
possible
greatest
Solos
with
nature
moods
the
Piano
the
used be
to
held
diminished
each down
bass for
seventh
note, two
above
except, or
more
men-
tioned.
Great
pressed
exactly
result; if the
the
fault
with
former,
will
players
young
the
of
foot
which
the
muddy
tinge will
is that
but
so,
public pianist will
a
works
foot
that
let it
not
foot
action
who
watch
curious
m
way
hands.
after the
"Moonlight
do
the
the
be
able objection-
Those
see
is
too
tone,
most
they
only partiallyeffective.
and
is poor
neither
The
do
to
pedal
the
that
part of the
lost.
be
33
moment,
a
best
sufficiently;they intend
up
right
latter, the
stroke,
the
nearest
taken
be
the
at
late; if the
too
nor
soon
should
care
down
Sonata"
"Moonlight
Beethoven"
Sonata,"
27, No.
Op.
2
BEETHOVEN Second this movement
In
mood
is
trio, contrary is
from
general
the
throughout
the
finale there
is
The
has
sun
"awake,""
a
detract
simple
risen, and
adagio, suggests
ten
this
movement
must 3
from
felt,
or
taken
too
the the
a
nine
sense
of
in
the
call
to
inadvisable
finale;
cases
fast, and
coming
keys
gentle
drawn
long In
arises
that
be
of the the
key, there
major.
would
activity. is
detracts be
after
the the
minor
noticed
be
comes
vehemence
the
triple rhythm,
rendering
there
of
the
relative
awakening
rude
the
accent
It will
morning,
probably
this of
"
Although
change
no
maintenance
of the
of
promise.
tonic; and
the
sign
from
feeling
a
brings
sonata.
no
is
full of
custom,
to
superfluity of
no
and
there
joyous and
so
"Allegretto
Movement"
a
bars
of
out
of
hurried
"presto." movement
the
so
The
will
be
34
Well-known
endangered.
The
without
clean,
by
and
Solos
of four
phrase
pedal,
fingers
the
Piano
should
notes
the
legato
effect
the
underlying
trio
are
being
be
kept
drawn
staccato
out
quarter-
lightly plucked.
notes
The
in
octaves
but,
smoothness;
if
and, done
be
of
one
and
absence.
the
bind
to
the
again,
together;
changed
the
at
more
it
second
phrase
from
its previous
so
sliding finger
a
insure
to
is detached,
octaves
pedal
effective,
Here,
be
may
The
cleanly.
useful
is most
difficult
possible, a finger
where
should
the
be
may
used. The
form
clear-cut
and
rendering
first
movement
the
cool
petals
fall
but
on
as
a
foil between
advantage,
to
usual
the
"allegro"
with
break,
any
freshness
the
tasia fan-
cannot
we
of
a
ceive con-
may
when
whole
the
piece,
mechanical
the
the
bole, hyper-
appear
feeling of
it to
take
allegretto akin garden
rose
This
get the
well
whole
the
lawn.
you
as
off
Indeed,
pervade
dewy
a
unless
might
you
should
tone
acts
desirable.
movement
delightful
the
to
without
on
both
of
absence
unnoticeable.
running this
allegretto
setting
movements,
two
A
of the
piano-
player. Get
the
if you
notes, but
machine,
add
players frequently nothing these what is
articles
plain
that but
two
is
heartfelt
to
no
this
The
in
the
depth
is
further
movements
on
of
mind of
Young
often
object, however,
inquiry^ and
an
great one
by this word,
out."
foster
this wonderful
as
"expression."
own
worried
are
been
have
may
all your
"press
to
correctly
as
can,
the
feeling reason
either
to
why side
in
of
suggest
composer. lies
ing hav-
this
it links
It gretto; allethe
together, and
the
at
time
same
shows
them
metaphor:
weU-known
Sonata"
"Moonlight
Beethoven"
off.
As
a
flower
is
"It
35 said
Liszt
in
his
between
two
27, No.
2
abysses."
"Moonlight
Sonata," Op. BEETHOVEN
Third Beethoven each
has
repeats himself
in the
piano
the
rest.
existence
an
of this
in Vienna,
from
apart
sonata
without
eagerly appropriate this
remember
making
is
It
adaptation
any
is
small
permissible
not
Well
do
with
ascending
the
the
to-day
work.
acquaintance
easily playable by
not
If
handwriting,
even
or
with
sonatas;
recognize
would
glorious
first
my
struggling
and
movement
world
signature
"
discovered
be
to
were
delighted musical
the
composer,
and I
Presto
never
manuscript
the
Movement""
this gios. arpeg-
and
hands;
and
cannot
be
recommended. The
composer
conflict
when
he
regard
music for
for the
and
Those in
can
a
the
throes
adverse
to
"immortal
shallow
serious. of life
sorrows
their
the
perhaps
his
to
in
inspired finale;
his
wrote
due
was
with
evidently
was
and
who
but
the
This
the
is
no
joys and
its emotions
identify
citement ex-
reser^^ed
is best
felt
have
mental
circumstances
beloved."
flippant,
sense
of
with
experiences.
own
Unfortunately,
some
reel
off the
movement
and
others
who
are
technique.
young
people
oblivious
exceedingly
of
with
any
musical
facile
inner
fingers
meaning;
fail in
the
quisite re-
Piano
Well-kno^\'Tl
36 And is
now
feature
a
that
the
and
of
be
should
the
in
is obvious
It
inversion
C
of
for
have
of
diminished
a
fingering (no
thumb
dominant
seventh.
arpeggio,
with of
measures
and
of
181,
third
the
music,
the you
recognize
the
two
on
the
the
The
beat
in
if your A
curious
10,
B
hand
in
movement
is
is at
the
suggested; of
the
measure
note
may
proceed
from
and,
will can
Both
fingerings for prefer
1 1
; two
be
i,
the
thumb
let go
the
i,
down; on
bass.
where
examine
fingers just there,
2,
thumbs
held
passage, you
on
pause
I
and
if
9, and
slight
a
top of the
of
practiced slowly,
several
fingering
the
"school
measure
agree.
bass
the
scale
from
you
with are
in
sharp
is small,
point
pause
There
the
diminished
Until
be
must
editions
that
so
of
impossible.
are
wheel,
a
i o.
two
no
"
downward
crucial
slight
of
repeated
running, but,
like
10,
180
you
negotiate from
and
9
two
keyboard,
proceed.
you
to
a
small
a
the
on
brilliance
difficulties
have
reminiscent
as
of
measures,
after
a
19
form
we
two
and,
notes
17
at
another
178
sixth,
eye as
and
So, quite apart
the
and
round
passage
then
your
measures,
second
chord;
more.
chord
each
and
At
Adagio;
treat
With
have
round
this
once
this, fluency
hands
the
tonic may
arpeggio." do
the
measure
keys),
note.
the
on
agreeable change
brings
7
Neapolitan
of
measure
seventh,
Measure
common
its
will
difficult
most
At
black
the
on
repeated
a
hand.
with
seventh
coda
the
is the
so
of white
arpeggio,
this
that
small
a
in
rush
sharp minor,
position, particularly we
final
the
minor,
and
mixture
the
to
arpeggio
particular kind
this
key, major
every
Then
keys.
successful.
second
and
movement,
gets accustomed
hand
The
practical suggestions.
practiced
black
be
few
a
Solos
you
a
the will
Beethoven
unusual
how
see
''Moonlight Sonata"
"
it
is.
Sometimes
37
absolutely-
they
rebel.
The
second
four
for
tempo resumed
pressed
for
even
above
is, a
suffice; that write
we
his
not
attempt
The
pretty scale
but
with
the
Alberti
is
notes
should
have this
decided
weak
an
to
dry
as
should
accent
advisable.
bringing
point; the
out
cantabile
yet
Lastly,
but
all
bass
register
let
not me
chromatic
felt
Whether
being given
fuller
be
of
will
at
notes to
the
the
a
the
be
marked.
The
staccato
in in
bass, the
middle
lower
of
would
the
outset,
is used
good
53.
should
frosty
hand at
its
hard
the
pedal
measure
piano,
of
too
small
to
agree
last
must
36,
stated
as
fingers,
the
in
on.
road
again,
on
loose
not
a
as
Do
subject, beginning
going straight
as
divinely, trill.
and
trill
third
thoven Bee-
quarter-note.
with
stop, though
play only sixths; but,
is not
the
the
Further
measure.
disputed
play
Before
this
keys;
the
it will
believe
lower
the
degree
one
Composers
suggest
played
beneath
sound
and
weather; each
a so
be
must
33
much
so
yet played
the
tips caressing
finished.
Nothing
than
rich
a
turn,
cannot
we
down
groups,
make
43,
at
; but
more
hold
to
their
properly at
do
begin
beneath.
one
fingers, who
clumsy
for
able only partially avail-
four-note
a
in
tempo
struck
If you
play
ideal
the
told, could
are
is
30
each
to
note
down
with
and
be
not
virtuosi.
note
Strive
octaves.
trill at
skilled
written
the
often
The
out.
brilliant
the
should
tones
slightly slower
played
then
syncopated ; the
tone
be
may
measures,
the
at
cantabile as
subject
is
a
in
effect
At
76, the
and,
fore, therevantage, ad-
be
used
no
necessity
to
unduly. point
that
out
scale
of
the
there cadenza
is
at
186
in
to
any
Well-known
38 particular time
Piano
grouping;
Solos
simply
run
trill
the
to
up
A.
note
distinction
One
it is written. seemed
of this
hke
Beethoven, it
regard
to
almost
as
in
Sonata
is the
sonata
key in
rare
other
some
which
composers,
sacred.
Flat, Op. 26
A
BEETHOVEN
First
Movement
This
legacy
of
German
is
its
at
have
ever
best,
When
consider
we
especially in untidy
of
with
night,
with who
the
helping his
for
would
often
of
short
mutterings his
the
his
perhaps
at
lodgers,
bowing
to
room
try
in his
of
tone
or
other
disturbing
violinist.
him
imagine
can
which,
pianoforte,
the
gruff voice,
own
invade
skilled
the
properly
in his ear,
a
thin,
the
out
of
of
we
it
play
weakness
day,
fear
suppressed
bow
the
Beethoven's
room,
instrument, dead
from
comes
strongly
so
effect
a
use
pianoforte").
the
would
gliding legato
the
(to
as
much
Yet
massig" to
of
behind
left
suggests
who
he
known"
all time.
for
"suited
instance,
that
string quartet must
Beethoven
means
for
andante,
"well
most
quite "clavier
not
which
term
This
which
Variazioni"
con
of the
one
pianoforte players
to
music
this
surely
collection
splendid
the a
is
sonata
"Andante
"
tating imi-
of friends
over
a
new
string quartet. This
yearning
sesame"
discussion
for
tone
and
for
legato, when
Technical
production.
dissection
of
once
the
various
felt, is the books, kinds
of
"open full of
touch,
Beethoven"
familiar
become
pleasure
to
natural
with,
use
pupil
a
schools
insist
wisely
instrument,
least
at
or
^
It
is
has
who
happily
and
all authorities
study
the
on
percussion,but
of
not
not can-
this texture
instrument.
touch;
coherent
a
39
who
study,
better
26
those
but
ugly word)
an
stringed
a
across
come
gift of
music
the
(to
Flat, Op.
A
few;
some
keys, would
ivory
the
for
produce
feel and from
well
all very
be
may
in
Sonata
of
this at
ligatory ob-
an
voice,
a
string,
wind.
or
The
They
not
are
but
page,
particular
writers, in
or
his
copiously
editions
good
presumably
what
the
apply
Although
on
the
bow
Another
mistake
melody
often
pointed
same
instant.
the
out,
holding editor
In
the
voice third
of A-flat
forbids
in
in
he on
middle
felton
the
measure
tenor.
struck
be
the
note
made
only
keyboard.
the
E-flat beneath
sing
can
nine
of
and
soprano
for,
first measure;
till the the
the
first
detached.
and
short
signifiedcan
hold
of the no
knows,
percussion a
of
should
is to
writer
too
increase
voice, but
or
in the
firm
the
the
parts,
instrument
an
will find
signs
both
to
in tone,
decreases
the
crescendo
you
me
played
is
ten,
little
the
measures
the
early
manuscript
his
before
which
tenuto, of
out
A-flat
in
marks,
edition
Cotta
marked
Again,
by
stantly con-
intended.
the
cases
the
strings
the
other
like
find several
we
additional
with
composer
note
embellishing
curves
Beethoven,
printed proofs; so
In
good phrasing.
to
mind.
very
filled in
graceful
cases
not
guide
best
your
carefully inserted, having
many
was
be
mere
are
in In
will
slurs
I have
slur
B-flat, and
accompaniment
the
at
notes
two
the
as
the
calls
in the
for
note foot-
asserting
4"
itself.
It
the
end
not
end
withdraw
or
Throughout
rickety.
printed
ritard,
the
slow
and
clock
tested
certain this
little
theme
tick.
the
by
eighth-notes
the
beauty
of
whole.
This
knowing
it, and
thirty-second spoiling
the
pointed
great admit
by
theme
requisite noted
of
deal of
the what
on
its
the
and the
there
the
amateur
variations "
feel
the from
distinct
hear
do
not
like
of
thus
steady,
ensemble is at
member
go
four
those
together,
it must
hummed.
supplies in it."
"tune
commonly
tempo;
being
count
through
quite
one
hear
once
others. these
is
of
may
would
you
nothing
but
could
acquirement
is
the
attained
would
and
squeezed
is
of
before,
not
teachers
we
falls.
time
been
players they
discrepancy
of
for
that
time
any
out
do
For
measure.
is
the
rubato,
no
beating
young
hurried
notes
when
time
many
often
keeping
playing,
The
with
pulse
of
exception
audibly,
not
cussed dis-
player
If you
pianist,
good
to
these
few
the
has
admitted.
ning begin-
All
a
casual
and
do
Having
out
strict,
then,
lines
exercised
close.
the
this
for
feeling
be
At
the
variations
When
rhythmic
a
the
be
a
into
point
With
mentally,
How
together.
by
notice. slur
must
should
be
played
over
and
metronome,
nuances
the
strict
time
reach
which
theme
and
curved
I will
the
spoiled
the
its proper
measures,
usually
from
interpretation.
pitfalls into
and
Solos
care
to
the
mar
only eight
like
; when
forward
phrase
mistakes
but
notes,
brace
next
make
says,
frequently
last
the
the
details
he
brace
a
on
the
carry
Piano
must,
of
of
Well-known
called be
a
Hence
You
"tune"
will
have
depends
cantabile its
first
the
melody
popularity.
a
to
Beethoven
in A
Sonata
"
in
Sonata
Flat, Op.
26
41
Flat, Op. 26
A
BEETHOVEN
Second As
Movement the
experiment
an
order
of
found
it advisable
The
fast
scherzo,
full of
the
as
is
should
be
greatest possible exuberance.
really
first-rate
nimble
very
The
of tempo.
play
running
the
until
the
The
ff trio
rhythm
of
"oily"
the
its
treble
but
technical
diligent should abound. sine young
qua
and
should
for
pianist
the
in
be
must
loss
any task
easy
to
counterpoint, turbulence
and
contrast
be
each bubble
quite
The for
with
to
be
beauties
new
is
successful
cannot
are
here,
as
rendering
attain
to
should
the
the
take.
and
verve
satisfied,
they truly
everyvvhere, ;
and,
go.
only by
never
and
string
and
overcome
"
in
plished accom-
the
give
part may
an
neither
grip of
and
performer,
playing a
advise
over
with
melody
I would
the
to
played
motion,
tone
difficulties
Clean non
necessary
where
seeking
ever
no
in tone
the
Again,
research.
be
it
the
demands
without
long-drawn-out
have
to
should
scherzo
The
its
in his mind,
quartet
piece,
with
fingers
find
gentle up-and-down
player
The
just
tenor.
nor
one.
played
passage
increase
scherzo,
legato,
and
end
gives the
lose
never
eighth-note
the
at
sonata
light, gay
a
clearly will
also
it should
when
especially
thirds
left hand
usual
quick
ability; the
the
play
the
This, however,
executive
to
this
a
denotes,
and
jesting humor,
with
on
word
altered
in
movements
follow
to
has
composer
slow
and
"Scherzo"
"
even
the
if the
requisite speed
Well-known
42
(molto),
clean
Perfect
diminuendo
of sixteen
pedal
the
The
of
music
classical
indeed,
to on
from
which
depart.
Now,
suited
with
risk
the from
a
Let
of
with is
there
Wherever
a
always is quite short, staccato
notes
in
every
are
slur
and
measure,
hand
so
proficient the
these lifted
high
; but
struck
up,
key.
second
without
be
at
octaves
the
on
marked
cannot
touch
shyness and,
the
almost
present,
ever
unable
as
strike
notes
if not
even
pawky
usual
blow
of two
struck
be
particular piece
all
well-aimed
the
play everything
who
the
is for
whether
appreciate
aside
form
scherzo
seemed
this
put
the
a
mostly
are
upon
This
the
time
eccentric,
a
mark
must
not
one
loosely vibrating wrist, down
depend
octave
unfortunates
being thought
without
must
commend
them
formal,
and
wrist,
the
way,
sion suppres-
feature,
other, and
me
Let
arms.
coming
and
the
as
long
for
resort
for
happily, they
in the the
by
pattern
at
duly
manner.
left,the
organists
remaining
their
a
loose
even
sf, which
the
are
or
a
either.
to
those
to
hand
instrument
one
and
accents
from
swing
shove
interest
and
at
stiff and
unmistakable
such
sf be placed right a
last
in
These
kept,
a
accents,
music
all time.
with
as
being
tempo
aimed
where,
marked
strongly
the
be
measures,
employed
Solos
be
must
ritard, variety and
least
those
time
be
may
of tone.
should
playing
appraised. soft
Piano
note
here
the
tion excepout
too
distinctly. In
trio
the
the
aforementioned
the must
be
turning Only to
round on
the
get its
diminuendo
long
gradual
"
like last
no
giving
Lot's
sf in
extreme
thirteen
of
crescendo
in no
way,
measures,
like
scherzo,
the
starting again,
no
wife. the
trio
value
of
may tone.
the
note
be
ened length-
Beethoven"
Sonata
Sonata
in A
in
Flat, Op. 26
A
Flat, Op.
26
43
BEETHOVEN Third
"
Movement"
to
last but
gay,
such
why
levity remains
Funeral checks
March
The
is
theme
on
capabilitiesof behind For
such
dignified
written veil
the
the
are
in
military cortege
a
be
destiny, and
together; for each
on
in
so
man's
Striking young
The
absent.
the
of
boom
interpret this march in
the
such
the
an
playing chords
doubtedly un-
ff
fife; and
tached de-
5/
the
drum. spirit-stirring
you
solemnity
which
symbol
all agree
To
marched
have
must
to
not can-
of man's time
keep
keep absolutely strict time, just as long
as
exactly together
player's difficulty;
music.
the
occasion
stride is then
feel that
kettledrums;
step is the
this
ages pass-
notes
felt that
human
the
will often
of the
real
the
thirty-second
adequately and
noble
such
of orchestral
forms
roll of
the
you
ear-piercing notes
the the
notes,
trio
the
portray notes,
larger
pianoforte,
no
although
and,
effect.
discover
first to
keyboard,
for the
feels
one
suggested
have the
was
and
that
and
in
orchestral
an
lines
instrument;
the
instance,
bass
could
day,
Beethoven
thoughts.
are
reproducing
of his
far less that
breaks
Hero
a
The
sonata.
preceding,
the
is
piano
the
of
of
good
a
up
Death
the
on
exuberance
the
that
make
if the
as
his drawer
in
out
grave
by such
almost
seem
sketched
ready
them
from
go
put aside
be
It would
they would
thought
and
should
gloom
riddle.
a
found
composer
of this sonata
movements
two
sulla
Eroe"
d'un
MoRTE
The
Funebre
Marcia
many
play
his comrade's. is the
perhaps left
the
hand
Well-known
44
Piano
older
slightlyfirst,and, indeed, detect
to
at
measure
marks
staccato
else
instruments;
and
edition) urge
this
into
tears
peremptorily of
entrance
of
hope
it
at
A
few
owing
of
rigor
martial in
chord, is at
but
The
bass.
of
A
in
major
brushed
aside At
with
will think
sharps, it
three
those double
the
if you
the
gleam by
away
chord ; but
stumbling-block
a
is the
temporary
a
chased
once
Cotta
the
sternness.
25,
wind
beautiful be
to
pp,
crisp.
if for
(in
How
the
of to
comes
once.
words
w'aming of
are
in
necessary
flats,that back;
camel's
the
on
the
of
multitude
the
to
in
notice.
beats drum-
very
as
lines
ear
where
be out
tenuto
measure
major
chord
last straw
only
the
in the
always
hand
short
but
must
is drawn
your
the
by
octaves
the
as
on
appears,
surging flats is
the
at
the
music
the
Those
hurried;
they
acute
an
respect.
be
not
pointed
are
Everywhere
lapse
must
4
need
players
in this
discrepancy
any
Solos
you
rare
F
will
see
coda:
the
flat is like
the
it is marked
signature.
in
Sonata
Flat, Op.
A
26
BEETHOVEN Fourth No must
one
may
have
a
say
relative
sonatas
have
written
during
others other
in and
this
which
"
Movement that
the of
unity
the
same
there
yet they give the
no
and of
seem
to
feeling; but
obvious
sonata
of Beethoven's
Some
style.
phase is
of every
movements
unmistakably
"
Allegro
"
relation
highest enjoyment.
have
been
there to
are
each
This
is
Beethoven"
certainly
the
march
the
and
composer
is
there
in
bringing
the
45
gloomy
brilliant
please himself,
26
connection
no
the
but
relief of the
may
justifieshim
contrast
Flat, Op.
rondo;
the
requires the
march and
Surely
here.
case
the
between
in A
Sonata
for
neral fu-
movement, effective
the
sonata
to
fittmg
a
conclusion. The
movement
last
beginning
from
is
readily comprehended Usteners
it is
it difficult
sing
to
find
Many
probably
the
psalm
tune
even
is
four,
the
motion
uninitiated.
gabble.
utterly unintelligible;but finds
of
the
by
mere
a
and,
end;
to
continual
in
rondo,
a
a
the
least
To
such
quick
music
person
same
ately only moder-
fast.
pointed
it be
Let
contained which
will
give
dominant
key
a
answered The
student
second
scale
the
in
in the
figure,
a
student
figure starting
little
and
This this
right hand
the
the
on
sequence.
tenor,
is
tation imi-
being
left.
the
by
finale
difficulty. The
throughout,
on
this
make
which
notes
repeated
is then
passage
subject of
the
the
to
descending
and
is insisted
the
four
help noticing this
cannot
scale
first
the
in
that
out
will note
page,
which
breaks
figure of
without
stopping
the
observe
the
scale
three
syncopated subject
also the
previous rhythm
the
up
sixteenth-notes.
Then
beginning
each
passages
on
a
thhd
higher. middle
The
pedal bass, taps closer of two.
which,
on
section still
the
Then with
contrast
no
final
two
together
is in C
after we
the
have
minor,
a
except
in
eighth-note double the
its cresce-ndo up
key.
chords
bar; four
inevitable to
related
a
sudden
are
groups
key, The
on
a
rap-
brought instead
cadenza-like
solo
piano, betrays
Well-known
46 the
of the
name
Piano
back
leads
and
composer,
Solos
first
the
to
subject. All
and
constructed,
all music
chords;
is
few,
is
intelligibleto
tonic
the
by
up
there
between
are
him.
that
see
feel
can
and
major
a
of
dominant
and
who
is
habit
dilettanti, really
few
difference
rondo
the
get in the
form
among
how
more,
how
should
the
built
mostly
nay the
detect
that
so
lamentably
show
student
the
dissecting music How
combined
features
these
and
minor
a
chord. technical
Good
performance, toccata-like
hands
the
as
figure
times
four
especially
those
of the
some
big
in in
good
chords
is to
plan
rotation,
a
as
for each
practice
For
have
to
Flat, Op.
E
brilliant
twice, finally once,
then
motion.
may
a
capital material
makes
contrary
in
Sonata
A
for
get fatigued; but
soon
rondo
this
study
persistent tyro.
the
is necessary
equipment
be
small
hands,
shortened.
3
31, No.
BEETHOVEN First None than
Movement""
of Beethoven's this.
One
particularly happy able
man
was
and
vexations
air and to
the
Under
he to
walks
aside
throw
stimulated
his
of
themes
ful cheer-
mind
was
wonderful
this
his discomforts
Probably
obliteration
conditions
of
frame
it ; but
wrote
and
bright
more
his
think
abroad.
when
complete these
when
temporarily
long country
is
sonatas
would
"
Allegro
love
his musical domestic made
of
fresh ideas
worries. themselves
Beethoven
known his is
"
Sonata
in E
Flat, Op.
almost
faster
than
him
to
And
sketch-book.
In
the
opening this
and is
It
surely
love
me?"
the
misunderstood.
pleasure what
at
Yet
and
the
receive
is
technically
the
buffoonery
with
The
indeed,
nor,
of
the
serious
composer's
At
double
the
kind.
bar
occurring during like
long peals is
noted, of the
prolonged
but
treatment,
The
clue
to
she" the
laughter,
two
who
yet perhaps
the
ment; move-
trace
any
decisive.
not
be As
writer
exponent
scale
in the
passages
second
theme
new
the
through, it is
always
gives
composer for
thereby
it
braces
with
answer
All
be
one,
last two
apologizes may
hobgoblin
repeats
overlooked; the
a
second
The
more
the
the
downward
the
the
and
affirmative
discuss.
meaning,
of
the
should
of
solo
two
measures.
all the
personal element and
of
in
subject
presentation
give
movement
"he
each
second
unalloyed
pure,
leaps
the
persistent question.
same
are
Then
sixteenth-notes.
two
each
the
to
is almost
curious
the
note
in
are
humorous
in this sonata
humor
the
both
vein.
deeper
Especially
leads
a
were
passages,
of
present
find
one
unison
of
is nowhere
can
in
quarter-notes,
This
/.
an
if it
passage
Mozart-like,
distinctly
gaiety-
a
be
comes
"bridge,"
the
descending
specifically marked subject,
called
"
cannot
as
the
In
thou
affirmative
answer
repeated
comes
the
at
is
tion, ques-
"Dost
tempo
a
a
movement.
as
the
answer.
Then
the
joyous
the
time
each
to
asks
such
a
at
question
accord.
perfect
in
scales
rippling
originator.
as
throughout
answer
in
alike, which
two
composer
question,
personal
with
blithely;
the
measures
47
3
fix them
could no
are
glory
repeatedly
a
those
surely
yet there
Beethoven's
conspicuously
he
No.
31,
no
tion; sugges-
find
new
Well-known
48 interest
awakened
Piano
when
technical
has
he
Solos
To
difficulties.
able consider-
the
overcome
these
will
we
apply
ourselves. the
In
brilliant
looseness adorn
the
how
the
on
up-to-date
third
fingering and
finger
again
G
the
no
black
of
the
word
fit in.
be
F
in
the
next
at
the
but
it
the
highest
note.
implies
the
the
bungle.
At
first note
of each
last
coda, which
of four
group
; and
they
Sonata
in
be
must
is
an
fallible in-
easiest
place
This thumb
the
needs the
on
exploded.
now
players mostly
young
braces
two
is
is to
the and
The
122
refusal
by
measure,
which
and
72
old-fashioned to
played
measure,
this
illustration
an
slurring clean.
the
below
gives
may
may
four; but
57
C
exactly
players
and
the
following
memory,
as
"
know
Some
and
ease
trills which
the
must
three
only
arpeggio
key, which
One
can
the
getting
octave
an
effort
the
of
fingering for thumb
also
in
way
fingers
Measure
speed.
In
the
five, others
and
possible
greatest
advantageous.
they
notes
four
depends
is
movement
many
make
of
wrist
of
the
runs
after
the
pause,
sixteenth-notes
is
home
slowly driven
the a
into
sonance dis-
the
memory.
E
Flat, Op.
31, No.
3
BEETHOVEN Second The artists Dream
Movement
immortal the
on
showed
many-sided
Shakespeare,
roll of fame, a
genius
in
one
of
the
really great
writing Midsummer
wonderful of
"Scherzo"
"
Beethoven.
versatility
akin
Night's to
the
Beethoven
The
in E
Sonata
"
of
primitive music earUest
to the
appealed
Flat, Op. the
was
identified
has, in
this
instance, invented
which a
is satisfied
trot
than
a
we
find
nature
legends alive
of
music,
not
suggests
a
instance,
of
Bois;
this
hushed
of the
three
chords
hear
in
a
wald
not
have
blatant
unlike
Mendelssohn from
the
We
with
are
has
apt
the
classical
no
such
draw
to
and
the
division.
without
doubt,
and
is, therefore, left 4
the
character
dispersal of
ried car-
smaller
a
les
the
soft
(see those
the
should
way, of the at
ment, move-
the
coda,
beyond
party
disappearance
in his brilliant
which
Hunting
Song
Words. too
hard-and-fast
romantic
This
yet to
be
call). Occasionally
distracting. And,
Songs without
Tristan.
in
music
nor
depicted
which
Recall, for
hear
we
a
helter-skelter
source,
Scenes.
subdued
the
this
first to
the
the
forest
piano pieces, Dans
woodland
bar, like
his
from
the
scherzo
true
the
portrayed
earshot,
little
keep
to
music,
which, by (fortissimo),
shout
keeping
from
; and,
in his Forest
horn,
across
of
old-world
in
scene
one
romantic
inspired by
alertness.
hunting
like
more
much
Wagner,
of romanticism
wave
Beethoven's
done
soft, subdued
Freischiitz, was
Schumann,
notes
It
and
moonlight
on
also
In
we
revelry, but
6-8
rhythm,
new
their
with
inspiration
Heller, in his charming
way.
be
phantasy. same
a
poetry
elves, have
light tread the
away
we
the
in Der
Weber,
and
the
Beethoven
exciting speed, and
49
scenes
although
quite
music
In
3
hunting
movement,
Scandinavians,
the
draws
the
less
a
gallop.
national
perhaps
with
with
dwarfs
their
; and,
composers
rhythm
in
horn
No.
31,
school
no
the
clue
; but
is
scherzo to
a
its
line between
really there
"program meaning
interpreter
to
is
music" is
given.
give his
own
Well-known
5"
which
meaning, been
well
So
said,
much
the
for
It is too
but
for
be
to
by in
notes
of
At
habit
of
beware old
an
and
poor
Then
ness.
best
the
one
of
should
adopted hand.
a
find.
can
you
godsend
to
acknowledged
measures,
There
change
37,
is choice of
to
Often
there
masters
38,
left
of
finger on
be of
fingering a
are
find,
we
of
after
the
good to
to
go," is
easy
several
ing ow-
crisp-
student
suited
most
the
that ; but
vidual indi-
fingered edition
guided
by
illustrate
repeated note)
often
fingering,and
one
here
note
We
the
piano playing.
hand,
gauged
repeated
come,
a
repeated be
will
the
are
The
be
serious
"Easy
that
must
played by
fingering
a
the
adhere
will
who
one
be
respect when
well-authenticated
A
fingers
lengths
alter
to
be
the
fingering, a lack
negligence.
; therefore
hand
in 3 must
it behooves
so
any
adage
hard
properly
surmounted.
in this
so
be
The
8 must
places
and
it is
contraction.
exact
unsuccessful
it is
years; of
the
faced
carelessness
regret any a
be
study;
a
touch
can
that
so
octaves
similar
dull
a
into
staccato
nervous
the
and
37
difficultymust
to
the
and
music
stroke.
4 and
before
over
nicety.
a
of
measures
finger ;
times
kind
a
from
precision should
bass
the
rigid,
is interesting;
spoiled.
finger
short
very
somewhat
back
change
of
pizzicato in a
and be
overcoming
aside
beautiful
such
acquirement
and
repeated
will
cease."
playing
turn
it has
as
words
your
to
for,
After
neatness
turn
only by
flicked
many
to
The
still
writer.
quick
are
where
that
all illusion
bad
the
imitated
words;
the
Absolute or
excellent.
put into
begins
for
people
aim,
the
Solos
difficulty,see
performance. be
"Music
worse
technical
the
be
cannot
Piano
(only ;
is
experience Those
my
two
meaning.
adhere
but, having
to
the
settled
Beethoven"
it, stick
it for
to
the
on
agree
altered
are
is increased.
before.
But
at
wrist;
the
(as second disregard
and
for
it
it hard
to
dotted
has
done
again,
the
same
reason.
repeated, but
are
then
the
never
played only by
be
part of 44). find
stupid
turn
evident
can
culty diffi-
same
to
occurs an
notes
players always
Young note,
is, where
that
otherwise
again
where
finger-staccato. fit in
short
this
is somewhat
which
rest
the
setting.
this
50
seems
ordinary
the
51,
observe
easier
which
thirty-second note
the
43
left hand
The
allowed
finger being
at
would
recapitulation
the
rather
a
extraordinary,
the
resents
At
to
pretty accompaniment
the
"it
in
51
3
editors
they would
that
Note
down.
No.
31,
two
no
fingering;but
measures
In
Flat, Op.
Probably
life.
same
principle laid these
in E
Sonata
rare.
The similar
name
broken
three
toward
passage
Indeed,
each
aloud,
subject.
At
it, having
small
a
quality At
of
finger must
holding of
a
those
the
left hand
two
passages, it sinks
will
so
octaves
gently
into
the
gives
perhaps
assist.
always is
contrast
strong
to
us,
marked.
apart, give the
theme.
the
By
piano;
but
The a
a
to
come beis to new
alter
ioned old-fash-
third
finger,
peculiar dry
a
idiosyncrasy.
an
; but
the
the
ascending
whole
the
itself well
acquit
is to be
is
for
"five-finger exercises,"
httle
hand
his,
on
which
this
But
tone.
in
92,
fourth
the
throughout,
hands,
both
must
obliged
is
find
I
tonic
played only by
well
be
may
84,
scherzo,
the
on
compass
At
and
48, 49,
learning it, a good plan
Beethoven
54
keyboard. chromatics
in
of the
landing
measure
such
end
the
familiar. root
chords,
common
loose way,
in the
the
poor
and
easy
note
little
descending
delicious
that runs
scale
effect where
Well-known
52 One
might
warning
or
hand
yet
a
Does
useful
most
in
Sonata
student
a
from
separately
little
other
many
advice.
part
not,
mention
Solos
Piano
points by
beginning
end?
to
left-
the
play
ever
of
way
I
trow
procedure.
Flat, Op. 31,
E
No.
3
BEETHOVEN Third
Movement""
Menuetto
the
harks
this movement
In
the
The
position of the scherzo Beethoven
for
old
formed
masters,
here
; but
movement
novelty
it is
is that
key, which
same
This, sonata
as
a
tonic
the
"cantabile"; and
at
the
note, dominant
D,
chord
It
the B
quietude
is further
enhanced
there
some
are
trio
leaps humorously
the
double
flat.
He
a
bar
in
are
otherwise
the
Here
up
seventh
being
minor
should,
the
by
all means,
tainable. obthe
in
contrasts a
leisured the
beyond down
and
the
on
ninth sock
tave oc-
with
musician
young
diminished
the
by adhering
glides along
jumps
slow other An-
slight
the
flat
trio
not
minuet
C
as
the
slow
the
movements.
and
The
of the
with
minuet,
curiously interposed
a
perimental ex-
new
feels, is appropriate, taking
one
increasing perturbation. find
a
succeeding
minuet
is
unusual
making
lively
old
invented.
he
is most
rule, the
a
both
key, yet
them.
between
scherzo
ever
was
two
imparts
whole.
preceding which
contrast
a
itself between
movement
to
he As
departure.
to the
in this sonata
but
;
back
form
Beethoven
typical
not
even
The
form.
Haydn
and
Mozart
composer
"
will
leading
upon
the
early
to
Beethoven
this
"tell"
the
minor
(a a
chord
On
ear.
the
by
on
with
of the
thumb,
that
soft
a
Remember
four
in
notes,
five notes
(A flat, B flat, A flat, G,
the
without
seven,
The
side. bar
the
to
The
the in
giving
whiling
Then
minor
the
more
be
"pizzicato,"
almost
to
The
(Pardon
the
of
coda,
their
This
which,
you
can
double
the
a
slow
the
on
on
quiet
tinuity con-
the
half-
wrong
should
of
rhythm The
ninth. like
as
a
the
simile.)
half-note
such
"
chords
quartet
complete
of
short,
"
not
too
pleasing
a
taking beneath
but of
helpful
be
theme,
strings;
Young
be
may
should
coda
heard
tone,
a
the
short
plucked
gain
pedal
the
to
p
little disturbance
passage
to
come
microscopic
a
this
we
inserted
on
octave
nothing, just
produce
with
depends
it
give
of
turn
part of the
a
this
to
well
kept
the
afiinityto
The
sustenance
of the
away
close
fully grace-
satisfied
be
take
to
is to be
there
quiet feeling.
long; short, long. energetic.
be
as
but
purposely
where
gentle
a
such
reiterated
flat),unless
A
again helps
has
trio
prevalent
a
the
whole.
composer
in the
notes
used
bears
trio, which
the
at
Halle
flat here
C
broad
disturbance;
Charles
tempo.
the
14,
be
the
playing
trill will
In
fill in
and
strike
must
in
be
melody.
12
by
53
half-steps
to
and
member,
should
also
should
tone;
"grazioso" which
10,
full
3
it.
Menuetto
assertive
clumsy
in check.
but
learn
should
No.
three
are
resolve
and
tone,
opening melody sung
notes
One
31,
staff, and
the
on
the
keyboard
any
Flat, Op.
eye
third) apart.
chord
The
in E
Sonata
"
once
must
diminishing string players
only by themselves. players, mastery
in
of
studying the
touch
particular instrument. Menuetto
makes
however,
Beethoven
a
delightful "teaching never
intended.
piece,"
in
Sonata
Solos
Piano
Well-known
54
Flat, Op. 31, No.
E
3
BEETHOVEN Fourth the
Here
is
really astonishing
into
out
become
and
line
an
and
a
this is and
of
Rhine
sparkling
festivity
such
enjoyed
the
in
is
scene
a
many third
the
at
kind
of
revelry
ascending
effervescing,
How
the
acceptable
succeeding
wine.
felt
peasantry,
find
exhilarating effect, almost
an
of
in
he
witnessed
We
he of
company
all
of
ballroom
country-bumpkin feet, and
is
German
have
part in.
break
to
nature,
No
his
poser com-
himself
music
his
must
taken
unmistakable
human
of
serious
divest
It
go."
spirits as
animal
period.
he
himself and
staid
why
gaiety
dancing
clatter
"let
with
Fuoco"
con
jollity and
race
possibly
passage that
full of
natural
the
bucolic
whose
this
touch
and
civilized
this, but
time
in
pulse;
every
that so
Ever
restraint. its every
indeed
excessive
such
Presto
has
composer
could
to
"
Movement"
would
his
like
have
timate in-
very
friends! After
double
the
descending great
and
contrapuntal
above
to
contrast
the
most
wrote.
It is clothed
bubbles
over
brimful
him
we
into
without
his
heavy of
accents sec
his
how
fondness
from
detracting
a
for the
observed.
gaiety pervades
cantabile
development
lured
treatment,
elements
Human
form
in those
hear
we
thoughtful
more
the
at
artistic
for
human
the
octaves
teacher;
regard
bar, however,
the
music; The
anywhere. graceful with of
and
the life.
there whole
witty
that
is
no
smooth
sonata
longs be-
Beethoven
highest extravagance
and
Beethoven
It is a
a
useful
very
repeated
The
idea
This
movement
is to
only
they
of
The
pupil
difficulty is
always Each
tax
a
position
thought middle
of each
afterward, Notice
starting
Be
sure
to
ascending
the
the to
arpeggio
a
chromatic the
for
melody
any
pause
There
scale. Choose be
begins the
with
left hand
the
thumb
clumsiness.
but
;
the
getting
one
slowly
passage;
measures,
its
on
measures
figuration.
starting
two
or
which
three
play
brilliant
little
finger.
of 68,
69, with
must
learn
to
ment. orna-
fragment
It
many
the
ways
can
you
a
the
on
the
four
64, each second
be
before
essentially
fingers.
accent
into
are
which
the
must
changing
subject, measure
second
study
definite
trill.
of
of two
lengthened and
trill should
a
because without
minor
down
trouble
in
studying
C
make
executing
in
accent.
lower
above.
motion,
strong
a
measure
is
executed
fingering;
motion
First, is useful
clean
a
additional
contrary
the
the
insure
independence
heard.
where
12,
his advice.
contrary
appearance,
by
At
this
in
excellent
will succeed
follow
the
as
note.
mentioned
nasty"
is the
the
is well
20
the
knows,
to
measure
also
cleanly,
of
only
its second
and
42
on
and
out
at
at
resent
second
will
fingering
who
teacher,
wrist
four.
then
in
places
passage
"cheap
painstaking
well
That
change
the
prefer
painstaking
of
several
thoughtless players
Many
fingering
for
of the
notes
the
on
55
3
finger
first two
the
of the
movement
this
by
only
such
are
position.
of
change
of
There
another
use
attack
fresh
a
No.
31,
preferably by three,
is full of
rapid
a
to
instance,
played
get
edition.
Cotta
the
be
Flat, Op.
procedure
For
note.
should
subject
in E
Sonata
"
will
be
tions, repeti-
alight
on
F
Well-known
56 All these the
points
instance, harder
because
less
have
The
secure.
they
firmly established
much
more
283,
Those be
must must
of
joint.
hardest
to
return
another
inserted
written
F
as
becomes
turn, Here
the
the
until
diminished
have
of the
is
284, 285; two
out
in
beginning
the
as
and,
the
"agitato"
follow
84,
shows
namely,
90,
its
in
which,
modulations
the
out
The
largely the
Here the
to
minor.
B
is reached.
in
82
at
at
change
employed
dominant
side
garb
new
mentioned.
joy
all this of
the In
chord in
of the
the
puntal contra-
Bach
independent
student
movements
a
bit
of is
will
movement cases
of extreme as
a
in which
be
unalloyed
risk
the
but, of
the
course,
performer
study,
by
slow the
fears
comfiture. dis-
any
be
must
tempo must
conveyance
rough ground; one
technical
patient, premeditated
slightly allayed, just over
and
hands.
After the
a
of
major
advantage
an
one
Then
dominant
seventh passage
will
C
it is
282
second
preceding
enharmonic
an
as
flat chord
so,
passage,
the
"
to
is left to
student
himself
bar
flat, in
sharp,
the
superimposed.
flat.
D
on
tonic, G
new
for
B
and
play neatly, particularly
flat is brushed
on
"
therefore,
B
more
put the
sequential
keys
especially
still
is
241
the
right hand,
but
For
keyboard,
previous
measures,
double
the
to
seventh
the
is
hand,
the
measures
the
left
subject, To
first two
of
of
part
of
and,
mind;
the
hand,
Perhaps
is the
288,
in
taken
the
nor
two
hold
the
on
than
used
rarely 2.
page
in
bass
narrower
be
after
intensified.
the
less
are
must
eye
chord
on
in
arpeggio
noticed
in the
difficulty is
fingers have
the
Solos
restudied
the
extended
the
will
you
be
must
where
movement
Piano
down
ideal no
formance per-
ruts.
Beethoven
May
in
you
in
"Sonata
"
playing this lovely
rendering
brilliant
the
in C
Pathetique"
have
sonata
finale
Minor
with
57
tion hesita-
no
freedom
and
ardor.
enthusiastic
Pathetique"
"Sonata
in
C
Minor,
13
Op. BEETHOVEN First
Movemknt
"Grave"
"
E The minor
One
key.
Perhaps
as
minor,
exceptional advantages boy
words
major
they
or
even
dumb.
intelligence that of
used;
for
as,
today,
that
readers third
is
note
in
Apart the
from
esthetic
the
E, and
(half-step) less
know
days
this
with be
to
in the
minor the
from
music,
general
on
ing mean-
and
tion." "diminu-
words
were
This, F
intelligible than for of
benefit
the
C, for
of
instance,
some
the
scale, E flat,a semitone C,
keynote of
structure
it strikes
English
lesser third."
more
scale
from
technical
feeling,as
the
grammar
common
easier
the
explain
major
distant
the
I
the
reflection
"augmentation"
would well
a
were
junior, a
girl what
is
instance, "Fa
It will be
ask
It also
pupils rarely
apparently
minor.
but, if you
quite apart
early English
In
;
and
mean,
English words
our
ing key be-
brothers
senior
not
high school
minor
and
mostly
are
a
where
school,
at
and
designated major
school
minor
the
the
"ragtime."
boy
a
with
associated
usually
hardly imagine
with
associated
had
is
can
alIvEgro
brio"
con
mood
pathetic
"Molto
and
the
ear,
a
minor
should
be
scale, culti-
Well-known
58 in all
vated
people
quite
feel
fight shy
at
home
of
it.
tonic
sol-fa
minor
scale
mode are
prefer
to
less to
mood,
a
The
mood
major
represents
optimism;
and
gloom
and
sonata
and
the
pessimism. will
you
at
the
musical
sounds
but
also
the
speed.
slow
gaiety,
eager
in this
the
and
the
find
the
pulse-beat;
the
metronome, all
it, and
speed thirteen
find
that
burst of
is
by
each
unless
irregular of
a
perfect
slow time
is invaluable.
noting
where
which
will
in the
rapid
notes
to
not
budge, as
nms,
the
sixteen.
are
you
last
The
in
halting tancy, expec-
infinite
such
measure
eighth-note Test
kept;
inclined
and
It will
like machine-
hurry
the
4, where
footnote
ronome, met-
there
eighth-note division, and, editor's
with
modify
may
be
it with
dispensing to
you
It
complicated
eighth-note.
After
then
difficult,
boneless.
and
half.
is
zest
allegro begins.
the
in
tion, addi-
In
arouses
long and
Let
measure
each
suggestive
much
the
this
only
not
introduction
the
bit.
is
the
gives when
case
of
reverse.
felt,
contrast,
beating
dignity
as
of
in the
cut
the
shine sun-
solemnity,
to
always
Beethoven
it bit
measurement
many
we
depression,
But
conducive
gait
we
result
take
to
measure,
as
a
that
first chord
Running
"time"
is advisable,
always
the
upward
the
usual
Strike
slow
a
force
by
impetuous
Pupils
lose
is then
of
mood
a
here
which
indecision,
and
the
of elation,
feel this true.
introduction
and, to
leave
this latter
mood
a
minor,
once
are
and
otu-
concerned.
now
of
and
There
chance.
it is with
and
and
in
teachers
easily satisfied,
seem
Welsh
plaintive mode,
still,the
worse
or
the
the
English (and Americans)
it, the
But,
more
also
and
minor,
the
in
classes
for, whereas
schools;
elementary
seem
Solos
Piano
at
the are
10,
in tlie Cotta
Beethoven
edition
"Sonata
"
insists
Fortunately,
passages.
almost this I
instructive
point
Then,
tailed
note
soon,
but
rather
be
cannot
is
end
are
three
worth
The
too
the
tempo,
four
not
than
too
in
at
rests
4
9,
the
at
the
indiscriminate
an
other,
any
three-
chords
Lastly, the
first
taken
not
legato
; and
soon
more
third
the
of
eight
to
get them
demands
of
perfect,
the second the
keeping
is
solo
crossed
bit
and
which
passage
Try mars
slight cautious
a
commendable.
and
of
minor
(that
be
groups,
nothing
slower;
the
cases
work)
hand
is the
innovation
both
the
subject.
pathetic mood
retains
Make
cadenza
first
the
excusable
the
up
composer in
a
scale
the
hesitancy,
tempo
subject
if
even
than
more
the
of
way
all
back
bringing
measures
mented aug-
arpeggio eighth-notes
of
like
must,
of the
movement.
studied, especially the
playing
easing
the
"passage"
A
line
interval
characteristic
pervades
long.
notes
thoroughly
and
flat in the
B
no
decisive, and
eighth-notes,
the
allegro second
By
may
proof.
the
your
is
connected.
measure,
metronome
in
and
begun
leave
we
introduction,
"grave"
delayed.
be
to
This
In
short
smoothly
too
apt
pause.
although be
must
fortunately, un-
mistakes?
relate, there
to
rapid
but,
Before
beautiful
59
two
is grave;
hurried.
as
prevalent
of all, sad
measure.
long
well
Minor
in these
even
Tempo
the
always
as
the
out
First
run
time
absolute
on
in C
Pathetique"
the
for
mode
with
the
is unusual.
ment, move-
the
pralltriller Another
,
reappearance
of the
slow
introductory
theme. After written use
the
the
double
in faint
bar
with
signature
wrist
for
the
natural.
staccato,
lines, the This succeed
development is
is
difficult; but,
with
the
legato
6o
Well-known
and,
octaves, hand
with
the
lastly, get
the
of two
group
Piano
Solos
strongly marked
accent
in
slurring
cross
first of each
the
on
left
the
legato quarter-notes.
Pathetique"
"Sonata
in
C
Minor,
13
Op. BEETHOVEN Second After
all the
hope,
"Music
will
feel the
will
be
begins music
is present,
middle
the
forget
and
for
words,
nearer
be
of
habit
the
melody
in the
melody
of all
is
Indeed,
apart
the
from
playing
pathetic
so
note
of
is
must
you
ment, instru-
your
human
sympathetic full
the
has
poet
here
a
It is easier
the
unless
you
have
very
few
pianist against
young
chords.
difficult
the
you
for all time.
the
after
Here
your
tone-poet
really
only
or
key;
men
warn
slightly
off."
heart
great
been
laughter, especially
most
the
the
first to
right hand,
Bach.
the
has
It
inadequacy
When
notes
It
minor
the
arpeggioing
efi"ect.
the
in
received
It is necessary the
than
dence confi-
gently sings
Still the
tears
mentally
assuredly
to
message
deep
keyboard
hear
and
sings;
of
leave
conceivable.
voice
bad
words
episode
the
at
where
foregoing
quiet
words.
without
mechanical.
always
of
message
song
too
lifeless and
a
the
longer perturbed, but
no
veritable
a
said:
in
is
of
excitement
adagio brings
soul
; the
"Adagio"
"
convulsive
this
movement,
of
Movement
others,
to
the
play
made can
accompaniment.
but
a
to
play
it has two
a
parts
special study
individualize
the
Still, if you
Beethoven
hold
the
keyboard
discretion.
The violin
unsuitable
only students
would
would
when
turns
the
great
very
bass
although
:
softly;
too
at
is
17,
like
more
consider
the
voice.
are
printed in full; and,
In
several
the
out,
instance, in
up-
helpless the
2 1
if
fusion con-
G,
note
,
which
begins
the
turn
sixteenth-note. becomes
often
notes
In
Indeed,
detail
all such
Rudorff,
or
The
pedal
where
six
is
the
the
of my
on
Berlin
"Hiibscher!
"
prettier!"
when
"
piece,
obbligato
C
he
E
flat.
sor, profes-
hiibscher!"
expected
chords
which,
hands.
It is the
in
more
figure
still smaller
of
nine at
50,
would
be
notes
where
modified
how at
to
find
six two
monic enharnext
wide, full for
Beethoven
46, we
poignant
in the
rather
38,
muddled.
as
natural
freely as
of
known
be
note
full
so
some
cannot
interesting to
measure
B
have
used
a
device
is written
measures
however,
such
sharps,
the
be
may
passage
by
flat in 41
in
not
cello
written
These
measure.
but
approached the
"
but
marked,
not
measures
grief, are
and
tome
recur
sixteenth-
two
begins
turn
exclamations
ornament
an
20
third
nuance.
throughout
The
often
"Prettier!
meaning finish
the
the
after the
be
in
Again,
played before
be
must
should
what
deformity.
a
in
comes
proper,
a
mental orna-
the
For
absent.
be
use
played
you
them
measure
where
melody.
minor,
for
these
editions
be
fuller tone
on,
the
to
the
relative
especially
turns
regard
6i
uppermost
the
must
9, you
from
by
Further
it cannot
detract
in the
passage,
to-date
with
in contour,
episode
at
Minor
the
not
assisted
register.
word
it will
otherwise
and
be
doubled,
is One
beautiful
will
in that
accompaniment
so
down
legato
your
in C
Pathetique"
quarter-notes
sixteenths, of the
"Sonata
"
small
ishes dimin-
notes
at
groups
48, of
Piano
Well-known
62
threes;
favorite
a
device
Solos
compositions
his
throughout
generally. All
self-extracted add
to
by
construction
of
human
of
beautiful
has
rondo
all
Words,
Soitg Without
Sonata
still better,
or,
master's
the
will
and
painstaking
edifice.
much
but
of
finish
the
which
namely,
never
Pathetique"
in
the
Mendelssohn
a
more,
latter
to
note
**
a
imparted
analysis, is useful,
own
your
appreciation
your
This
whether
information,
such
deeper
a
attained.
Minor,
C
13
Op. BEETHOVEN Third Refined this
alone
playing
is
accompaniment harmonies
the
into
first
subject
the
The
belong
to
note.
All
two
the
four
four similar
sequence.
as
military little
previous
the
a
These
this
set
a
eight
note measures
how
beloved
in
foot-notes
ing strik-
See
to
by
must
5,
begin with
but
the
show
not
bass
this;
advice.
good
beginning
by
measures,
much
so
the
up
chord.
seventeen
notes,
grace
ioned old-fash-
prove
may
to
salute
have
ignore
measures ones
out
The
breaking
complete
measure,
editions
pupils mostly The
bass
you
that
thinly
so
justice. by
as
is lengthened
abrupt
Mozart.
but
in the
group
it
made
single notes,
each
with
do
can
of
distinguishing feature
it is written
and
rondo;
"
Rondo
"
is the
workmanship
Mozartean
refined
"
Movement
at
19
lower, form
are
which what
followed is called is called
by a a
Beethoven
"Sonata
"
bridge, leading
in C
Pathetique" second
the
to
across
Minor
63 tive rela-
in the
subject
major. At
nine
33,
the
C
second
lower
note
same
chord
The a
of the is
chord when
find
it is
may
be
dominant
brain
the
with
and
likewise).
note
be
of
scend, de-
must
of
each
this
only
students few
a
diminished
playing
G
note,
determined
sixth, this
recognize
can
like
down
top
the sound
in
the
widen,
If young
sevenths,
especially
and
movement.
go
the
top
The
Clearly, then, to
augmented
value,
greatest
the
other,
familiar
become
with
it resolves.
way
this
mostly
seventh.
the
or
one
sharp,
flat, ascends
a
the
sixth.
always
flats
as
then
dominant
friend, the
our
when
chord
chord
same
sharp),
the
chords,
the
F
a
hear
early
and
apart,
the
in
examples
on
forms
way,
F
flat to
of this
notes
accidental
augmented
7, A
other
cleaves
for
you
would
in
present
(displacing
flat
of the
the the
by
(a natural, cancelling
up
if you
But,
interval
find
which
wedge
sharps
note,
principal
two
pupils omit
ten
This
flat.
should
reader
of
out
mon com-
sevenths, would
from
of
be
memory,
these
chords
in
transit. is fond
Beethoven
beginning chord.
such
way
of
from formal
added
variety, at
his the
80,
chant
pedal
to
much
comes
up
four
above. a
he
brings
perhaps
in
at
45,
fresh
each
later
lastly,
in
All
pedal-point
this on
"
seems
in see
inverted,
florid
the
"fugato"
will
You
with
of
exercise
run
measures
bit
a
some
scrap-books.
parts, and, then
setting
the
refrain,
his
Sonata.
unexpectedly, and
church-like Use
quarter-notes.
Another
Waldstein
By
in
that
of
most
point, counter-
how
stiff
then
with
counterpoint preliminary
dominant,
at
neath, be-
to
his
108,
G
Well-known
64
the
being warning
dominant
notes
108
at
At
130
we
to
the
back
left
to
from
160,
being, stretto,
as
hand,
the
four
which
Beethoven
bring
making
chantlike
to
measures
afore-mentioned,
to
a
two,
favorite
repeatedly
so.
interest
being
as
again The
chord.
the
the
use
second of
is
then
to
used.
ferred trans-
sequentially
refrain
device,
a
sixteenth-
sotmd
measures
so
tonic,
time
is
Here
three
mostly
first
two
minor.
these
yet
the
constructed
sixth
at
for
have
C
for
triplets,
not
Solos
tonic
the
inexperienced,
are
and
repeated
of
the
to
Piano
ject sub-
the
mented aug-
shortened
one;
a
kind
this of
Spinnradchen BKNDEL olden
N
times
castle
and
wheel, which
for music
the
whirring
others
where
Senta
though
beat
of
beat,
the made
here
the
effect
The two
first strain over
pretty dissonant
thought is better
fifth.
the 5
the
sound notes,
for
of
G
the
sharp
anomaly.
an
fingered Aim
at
and
The
6s
almost
with
first
the does
the
it
which
daintiness
be
a
written.
as
arises
fourth
a
fourth
may
you
of
matter
not
on
short
as
fourth
the
on
note
B;
scene
song.
were
phrase
the 5, 4, 5, extreme
her
playing
first
the
satisfied
but
same;
are)
you
top
have
introduction,
A
It
rest.
the
place
is much
(I hope
"stickler"
the
by
if you
it
are
who
may
until
note
though
as
complete
much
the
place
measure,
the
forth
trolled
then
introduction,
the
triplet very
and
motion,
its easy
One
wheel
the
trying
were
to
pictures
recall
w411
trill in
libitum"
vivid
Those
wheel.
her
plying
"ad
the
interpret
In
is
Senta
when
which
on
find
can
Dutchman
well
very
imaginations
nothing.
hear
Flying
Wagner's
seen
and
they
peculiarly be
can
Some
others,
and
see
is
background
song.
than
susceptible
more
the
forms
Midst
wheels
their
wheel
the
maids
rank.
of
subject
of
sound
room,
the
only by
not
of
The
maiden's
the
reproduce
by
spinning
a
spinning
a
ladies
also
this
and
imitated,
used
but
; the
had
cot,
often
was
sang.
fitted
the
to
the
from
house,
every
from seems
the at
"cantabile"
finger crossing of
touch
in
Well-known
66
introduction,
this
trill may
hand will
We
number
Measures
difficultyand "wheel" the
of these
only
at
then
will
you
C of
This
ritard
especially
easier
the
when
with
terms
be
16 must in
notes two
21
hand
that
so
at
by
this
the
on
The
as
The the grace
or
is
well
first of
the
the
gradually
gets
notes,
the to
E, the
minor
piece
begin passing
notes
at
out
discomfort;
perhaps
At
the
keep
49
feel the
and
chords
had
been and
arpeggios away
little group above
be
of
slower.
in
of four the
slight
repeated;
short
and
fused con-
indicated.
as
should
weaker
next
arpeggio
The
is frittered
each
intimate
requisite color.
lib."
printer
certainly
grace
hand,
ad
it is
the
slurred
"bis
but
on
Pluck
afford
in
slight
a
is
double
fatigued.
figure
subdominant
Remember
C,
time
though
coda
two
always
47
tional addi-
inclination
an
"nuance"
the
grace
an
mannerism,
The
keys.
with
by
foot;
exception
an
finger are
the
Look
distinct.
top, where
a
a
they give
marked
measure
it looks
be
Such
ivory
whirring accent
the
and
as
easy
may
eye
and
major
cautiously negotiated.
measures
the
the
the
of G
toward
observed.
generally
very
The
short
a
reverse
effect it has.
more
This
occur.
may
is to
your
very
little scale
Make
with
time
diminuendo
is rendered
sharp
hand,
the
out
ascending
an
rule.
the
the
curious
a
technical
index-finger.
the
to
effect.
subject.
distinct
good plan
a
beat
plucked
8 has
Measure
and
what
see
be
must
notes
to
hand
your
chief
persistently.
and
tripletson
the
a
studied
measures;
of the
accent
be
must
contain
44
fingers
two
whirring
from
The
piece.
with
novel
a
measures
and
18,
2,
produce
the
the
and
libitum,"
"ad
may
you
Solos
throughout
indeed,
begin quite
of each
Piano
the
room.
After
double
"fioritura." notes
tonic
on
A,
chord.
*Mazurka
2, in
No.
Minor
C
BOROWSKI
regarded
HOUGH
the
musician, his
the
If it
of
the
product
Slavish
of
whose
one
not
too
nature
to
necessary of
this
Ma-
of
the
tics characteris-
shows have
to
strong not
fired
have
been
was
ture signa-
a
inspiration
an
certainly
School
be
classification
zturka.
trays be-
name
fact,
In
scarcely
proper
soil,
composer's
lineage.
would
American
an
as
been
his
by
the racial
heritage. The
opening
blow, too
from
hot few
the
making
repetition, first?
As
thought it
for
first
the
an
make
its
serves
no
emphasis or
vitality
as
far
second
a
Can
of
example let
render
gained
in
two
it in
such
than
many
ways
in
by
power, 67
is
which
pletes com-
without
these
subject
exact
an
you
lines
of
varied
of
a
poetry, to
as
repetition
for
"
the
take
manner
a
For
purpose
in
measures
can
mean,
emphatic?
more
legitimate
diminished
the
a
All
is concerned,
I
say,
eight
play
of
at
found
be
to
section,
you
what
us
then
is
of
struck
inspiration.
are
interpretation
as
and
of
section
first
appearance
meaning other
equal
period.
expressed, aloud,
anvil
note,
second so
glowing
The
note
to
seems
of
passages
repeated,
And
the
literature.
piano
read
theme
emphasis.
through
accents,
and
creased in-
by
Well-known
68
all those
vigor,
first theme
and
attack,
and
they of
each
Observe
in
sounds, chord
of the
the
whole
At
8
G
measures
The
7, where
each
chord,
the
"deadly
The
takes
of
Others
which
music
give
the
At
17
may
This see
mastery
in
of
has
been
Grieg's rhythm
In
pedal
to
avoid
must
we
*
which
true
are
he
sake
for the
pace
126,
=
copy,
mood.
you
this
of
period. follow
If
so,
to
them
18
last beat
discussed
not
and
and
as
reached
at an
movement
develop
has
length
three in
example. the
point
the
followed
by /
indicated
as
the
the
Here Note
pace.
Berceuse has
excepting
first theme,
theme.
power
by p.
the
interpretation.
quicker
contrasts
immediately two.
the
as
second
the
the
different
a
long
so
and
point.
with
the
prevailing spirit of
sincere
a
begins
take
strong
it in
instincts
own
your
for
slower
is the
feel
may
major
this
at
writer's
the
on
somewhat
a
it
monotony.
especially
at
dignity
begins
quality pervades
with
something;
mark
excessive,
always that
level"
metronome
seems
add
to
seems
7iot
"
D-flat
marked,
slight ritardando,
a
the
splendor"
marked
is well
pedaling
stant, in-
arms
which
C,
fact, this more
good
keys by
lower
6, against that
only
attain
same
acciaccattira, E-flat, exactly
the
bass.
measure
the
"barbaric
In
It is
period.
of the
and
right hand.
sound
and
what 5
To with
the
pedal-note,
With
measure.
from
terpreta in-
Breadth,
taken
exactly
at
"grasped"
the
said.
be
must
fingers, hands,
the
"struck."
be
be
finished
a
typical qualities.
sounding
must
into
need
chords
tone
every
Solos
enter
more
its
are
the
course,
muscles
little
dignity
these, of
which
shadings
tone
this
Of
Piano
against
other If where
ticles; ar-
your you
Borowski
triplet very
melody
than
have
to
cease
efforts
till
if otherwise
against-three figure; but, for
the
piece,
I would
unequal
are
you At
taken
with
round
the
carried will
the
gives character have
you
new
effect.
all the
for
third
of
as
"flow
by
careful
triplets
of
Beginning
minor,
almost
with
its
root
omitted
on
at
this
last
E
be
jerky
measures
At
are
49
this
form, appears built
being
till the
plished accom-
no
"
minor.
sharp
monies har-
indicated.
well
varied
G
little the
42
must
four
few
offers same
In
pare pre-
I.
41,
the
"
32
of Theme
evenly
measures
chord
rail, of
move
these
passage
command
your
is
in somewhat
first two
diminished-seventh
45,
lines.
octave
which
literally,into
motive, the
must
with
the
1
21.
and
fingering, 43-44
figure, which
has
together";
be
little
major,
at
and
tenuto
rhythm
discussed
was
full,
a
of time
poco
measure
be
their
at
the
Tonic
first
3
tone
Let
in the
Its
must
four-measure
ninth
At
of the
return
theme,
figure
transposed,
in A
the
it is to
develop
value
of this
theme.
breadth
problems.
slurred
The
the
sforzando marks.
the
The
persistence
to
first beat.
the
(following the
will
with
tones
and
joy
temporarily
hand
its entire
next
the
note
which
have
must
to
on
must
octave)
that
the
in
of the
two-
beat.
"tricky"
drop
not
equipped
G's, indicating that
octave
downward
Do
because
worth
one
of the
melody,
are
lose
you
the
this
you
sixteenth-note
the
staccato
tone
You
of
to a
previous
this
to
beware
21
It is slurred
see
musical
of its unusual
value
have
not
of the
mastered
have
you
make
execution.
the
69
chord
A-flat
the in
place
F-C-D
the
with
Minor
C
better
nicety,
with
even,
ragged
a
your
with
sounding
accompaniment
2, in
No.
feat"
the
"perform
can
Mazurka
"
(the
last
from
the
dominant
beat
of
50).
Well-known
7"
At
minor, A
poco
varied
this
53
followed
quadruple rail,
leads
from
descending
passage notes
richness
to
thirds.
From
three
is
transposed
measures
of
is
measure
developed
harmony
motive
by
into
an
a
motives
at
(C's)
what
of
all
is
rather
right
be
to
In
plain the
the
sound
to
which
hand,
a
beautifully
fail
not
would
repetition
Here
discussed. do
B
fantasy.
60.
cadenza
already
the
free
at
tempo
into
literally
introduced
71-72-73
otherwise
76
Solos
Piano
add
the
such
in
octaves
closing
chords.
and
Variations
Fugue
Theme,
on
Handel
a
24
Op.
BRAHMS
GST
superb, is
piano
solos
borne
out
for
them of
them
and of
at
least
have
not.
these
of
Handel,
in
harmonic
of
and
and
aim
at
vogue
an
amateurish
Vienna,
beautiful
but
the
the
unfettered
delight
of
flight
complete
varied
esthetic
which
allows
but of
of
in
"A
the
seemed
display
and
71
in
presenting
"
in
indulging the
seems
then
superficial
composer
often
cultivated
who
deep, brooding
distraction,
But
mood.
somewhat a
the
to
theme.
Mozart,
genius
mastery
aspects. no
his
Thirty-two
conceivable
technical
satisfaction
personal
those
sohn, Mendels-
fine
on
like
few
very
than
the
of
in every "
a
"
hind be-
Symphoniques,
his
demands
theme
great
fairly closely
structure
popularity
not
with
content
adhered
greater the
treats
in
on
leave
to
Schubert,
who,
is
nents expo-
The
advanced
more
Mozart,
rhythmic far
was
far
minor,
great
playing.
Etudes
Beethoven,
C
makes
listener
Schumann's
Haydn,
all the
of variations
set
this
inclusion
constrained
seem
are
and
frequent by
piano
great
one
Brahms,
even
Variations
Brahms
piano
Bach,
and
His
the
its
programs of
effective
most
written;
ever
by
the
this
monumental,
say
of
one
that
agree
might
we
work
their
composers
will
musicians
intellectual his
theme
in
earnestness, to
mar
his
Well-known
72 of
beauty but
sound,"
in
German
A
Hke
us
his
lured
once
use
of
beauty
to
form
they
The
They
need
sound;
and
if not
The That
running. after
2,
observe
"
with
the
old, and
obtains
sure
be
curious
a
by
in the
the you
observe
animato,
and
finger is
this
but
Brahms
III,
so
and
bewitching?
could
parts
change
Variation
have
slight, yet, from
as
written
to
of mood, III
is followed
the
ure meas-
of hand
out
in octaves
the
crossing
is
with
company
three
Brahms
phrases,
this, in turn,
twice
in
run
copation. syn-
unusual.
effect.
Italian
jovial
advisable
gets
against
two
in Variation
passage
notes
upper
listener.
ornaments
their
often
composer
new
apparent.
very
fifth
quite
gliding
short
with
the
is
the
II
of them
regard regular
the
Brahms,
and
bar, very
reporters,
with
old-fashioned
on
able, accept-
and
on
easy
cacophonous
which
Variation
At
Be
bass,
the
play,
hand
that
to
to
cepted ac-
find, are
concise
at
the
we
convenient
Chaconne;
double hear
and
but
rounds sur-
are
we
are
their
the
curious
the
These
from
of
right
distance,
apology
feature
a
the
to
seem
TwiHght
press.
no
easy
full
made
I, has
ceptions con-
before
we
particular variations
these
laity.
is
own
stand
eyes
musicians;
in Handel's
to
in
very
aria
alluded
to
phrase
are,
his
not
whose
repelled."
mature
vague
a
the
to
even
in
melt
and
of
does
seem
heights
repeated hearing, to
we
onward
views
Dictionary:
expressing
"Brahms
Schubert,
hands his
:
says
or
him;
from
in Grove's
way.
writer
whose
look,
Solos
writer
him
own
Mozart
the
says
hinders
nothing
Piano
gives each
tion, instruc-
variation.
for this
dolce
should
after
by risoluto. delicate of
he
rhythm
the Who
Variation
rhythms,
so
coy
Brahms"
Fugue
Variation
off the
breath
the
a
mysterious effect,
birth
gives
to
intervening contains
soft
of
rely
pointed
thumbs
the
on
out
that
this
even
at
study, The
intricate
the
sweet
again,
XVI,
little
with
naive
Variation
on
a
tonic
stormy pompous.
of
XVIII
XVII, Siciliana
and
XXI.
Variation
loose
need
the
of
The
XXV,
which
hands.
ancient
style
the
line-wise,
influence.
like, usher is
above,
chromatic
Schumann's
if you
sant inces-
until
Pastorale, Variation
may,
be
omitted
displays gorgeous one
must
hardly
straining be
into
out
hand
may
is
paniment. accom-
separate
appears;
XX
which
capacity
It
X
relief
more
breaks
trills, alternating
pedal point,
final
demands risk
the
progressions, reminding Delete
sixths.
the
pair
Variation
below.
then
in
the
minor.
small
of
it
Variation
largamente,
Brahms
hands
many
Hold
observe
still
and
his
piano
IX.
and
turns
in
some
but
major
XIV
has
vivacious
modern
brilliant
in its fanciful
display;
The
XIII,
Variation
piano,
deletes
follow,
the
Burlesca).
blare;
between
Variation
by
At
technical
The
character
Hungarian
almost
chord.
play
quiet
afforded
loud
with
the
by
in Variation
effect
key,
contrapuntal
his
aside
the
minor
played sempre
VIII.
each
to
curious
pair
A is
pedal
the
mination deter-
take
touch
Scarlatti's
like
and
the
shows
is brushed
Variation
fearlessly
down
variation, but
in
V,
long (Paderewski
is too
omit
maddening
he
73
24
its resolute
intimate
VI
Op.
recurring sforzandos,
the
more
(rather
VII
program),
in
almost
into
This
canon.
set
frenzied
Variation
In
If the
Theme,
Variation
hearer
Variation
Handel
hearer,
are
But
composer.
skill in
the
beat,
away.
brings
quite
excite
to
always
is
IV
a
on
XXII, in
the
majestically
This
colossal
glorifiedcoda resurrected
and
transcribed
for
indebted
was
the
"Dry this
as
Indeed,
work.
and
is alive like
How
all the
aisles, pillars,and make
magnificent
a
The
subject
of the A
the
"fly"
hearer
sor's, predeces-
great
with
up,
from
the
piano organ.
first few
the
to
go
is
it
for
arranged
nave,
which
yet
at
notes
of
subject (from Again,
at
at
the
eight
we
first
Therefore,
of the
notice
second
it where
or
33,
eighth-notes should
student
the
whenever
subject measure
where
subject
a
replace
the
tition, repeof the
limb
2). find the
anijilified,accompanied which
49
at
as
measures
measure
20,
this
regularly
a
with
"chased."
recognize
as
Then 12,
be
or
fly, is
to
starting
it is inverted
augmented
sixteenths.
thirds
play
flags.
Fugare,
music,
must
in; where is
his
And
taken
be
; and
frequent adage,
accessories
it
like
lectual intel-
His
it is built
many
Latin
piece of
must
ordinary comes
to
seems
fugue, from
which
like
of
one
any
Paderewski
say,
structure.
not
play
aria.
constructed
it
would
One
music.
consummate
a
the
never
cathedral
grand
a
interest
Bach's
interpretation
such
fugue,
inspiration,
memory.
hearing,
the
the
was
admitting
after
Brahms
playing
could
he
for
anyone
fugue,"
a
him
his
in
He
from
key,
fitted
imagine
cannot
we
it is said
any
a
fugues
organ
for
master
being unrivalled
and
qualities
his
Undoubtedly
pianoforte.
Forty-eight,in
the
old
grand
the
on
of Bach,
student
of
one
piano, by Liszt. the
as
variations, is really Bach
like
sounds
considered
be
may
preceding
himself
fugues
organ
the
to
composer
which
fugue,
to
Solos
Piano
Well-known
74
by
appeared
first four
descending
the as
notes
an
inversion
of the
subject
passage of the
coun-
in
Brahms
Fugue
"
in
ter-subject,
"Stretto"
7.
Notice
together.
original
it is drawn
yet closer the
only
at
at
bringing
a
is introduced
by
stretto
and
at
in
magnificent this
but, midway,
this
enthusiasm
subject
bring big short
fat
chords
figure
technical
here I
in the
variations. if he
Every
fails in his
hearing
this
and
fine
work.
at
74
66,
only
"
in
measures
stroke out
is terrible
in the
forms
in
first four which
splendidly left hand
umphantly tri-
do
these
and
the
a
player
doing
so
to
overcome
every
point
familiar. a
splendid
pianist Let
the
right hand. enable
can
this
the
chords
the
is
pedal.
the
by
only
How into
all;
which
After
massive
102
F
on
pianists led by their
appears,
close.
good
ideal.
ing. tell-
pedal
inexorable.
become
fugue
the
very
at
dominant
a
difficulties; and
this
of
"dolce" one
ceding pre-
contrary
really great player,
a
at
must
the
in
fragment
helped
those
above
mentioned
repeat,
be
longer
Only persistent study the
The
return
harmony
nineteen
almost
descend soar
of
to
accompanying
notes
The
sledge-hammer
a
no
proper
46, but
at
with
keeping
still closer
F is inverted,
insistence,
45
last.
fingers of
the
At
39.
keys, beginning
62.
the
entrance,
Brahms
by
This, under its
this
permit
indicated
in
72,
subject's
fugue writing and
example
accompanies
in
four-part in
eighth-notes A
full
the at
remote
at
innovation
an
This
and,
closer
sixteenth-notes.
into
51,
of
75
24
drawing
still closer
two
is varied
in
75,
is
motion,
two
of
Op.
appear
and
together,
from
variations,
subject,
forms
inverted,
and
fragment
is taken
57,
the
means
flowing excursion
smooth,
Theme,
both
that
first limb,
now
Handel
a
on
him
should miss
no
climax
study
to
the
it, even
opportunity
of
Hungarian
No.
Dance,
7
BRAHMS-PHILIPP
HIS,
of
one
the
Dances
Hungarian been
distinctly
some
There
it
will
we
slowly,
very
eighth-note find
tripped
by
that
within
good
very
it will
price
be
of
of
ones
an
characterizes the
is
almost
heard
small
object
of
them,
the
their
artistic,
large
a
their
lesson
wonderful
elasticity
playing.
Though
verve
am
still
and And
wondering 76
Assemblies), times
have of
an
rhythm
within
freedom two
the
from years
at
find
will
many
will
tunity oppor-
(people
often
many, you
be
to
ber Remem-
Orchestra
quite
will
you
the
Chautauqua
worth
There
into.xicating. I
city
an
not
have
can
you
study
characteristic
the
are
size, at
admission.
presentment
of
of
speed
"quirks."
Hungarian
good
a
reach
If
will
measure,
open"
eyes
dulcimer
and
hearing
your
rhythmical
instruments.
Hungarian
that
and
observed
first the
it
to
properties.
be
to
you
at
by
technical
to
Even
the
violin
the
of
of
some
that
has
added
many
beats
"keep
must
you
four
count.
has
points
granted
using the
to
that
not
it for
take
the
retouched
pianistic
so
are
rhythmical that
who
Philipp,
of
Brahms,
by
effectively
very
Isidor
beautiful
most
the
after bravura
the actual which
bounds restraint I
last pass-
Brahms-Philipp" which
a^es
Hungarian
dashed
were
primitive duleimer, Let
with
consider
us
off
by
7
77
on
the
dazzled
that
will
that
points
some
performer
the
brilliance
a
No.
Dance,
one.
careful
need
attention. Those
first
partial, opening with is
The
and
turn
of
measure
throughout
the
piece, should
measure
of
2
completes done
crisply.
very
often
called
effect
of driving
wUl
think
2
the
the
touch
sure
next
marked
fulness
of the
observe
to
and
little
finger plays be
character most
at
tie
on
lost.
My
Throughout
all the
1,4.
2,
to
which
note
should giving
lag.
it
of
i his
time
follows. to
its proper
cution exe-
until you it.
play
It is
an
comes
with
ring In
apology a
for
tie is that
4,
be
of
he
while
note effect
are
Measure
then
should
thumb
the
If you
E's at the middle
the
is
have
command.
your
as
y ^^
3-
its time,
notes
which
only
commonplace
so
which
two
the
frequent
finger staccato;
the
at
is, it must
these
its octave.
frequently, almost
students.
are
tenuto, tone
note,
division
or
ready
certainly hold
measure;
to
of 3
long bow
a
to have
great help of
the
ately, deliber-
measure
shorten
; that
a
and
one
the
than
note
one
of
beat
a
the
to
on
first half
C-sharp.
all the
of
of this, it will be
of the
and
to
"driving note"
a
Never
certain
end
the
note
at
Better
preceding rest,
short
when
thirty-second
The
+v,o
form
characteristic motives
of the
one
r
very
fingered
be
quarter division
each
of it to the
part
have
composition.
the
be
also
we
,
occurring
and
2
done
following
its
beginning
.
,
violin
of the
tone
which
be
must
measure,
broad
the
drawn.
sixteenth-notes,
three
too
the
ful beauti-
mentiomng it
is
the
a
one
exasperatingly,disregarded by these
composition,
the
two
phrases, and
accompaniment
cally practiis
ot
a
Well-known
78
simple construction And
that
now
be
to
the
but
languorous
best
seem
Such in the
a
is desired.
The
time
of the
this
half of each
beat
you
will
discover
will
find
this
the
figure
do
over
to
motive
has
other
the
fourth
keys
grace
that
the
that
bass
fifth of
note
first note
right the
hand
two
how
"and"
of 8, and
than
top
a
of the
small
the
of
first
half; thus
sound.
various
You
tions, combina-
the
third
right hand
division
of
of octaves
note
white
keys
little unusual. mordent
the
octave
notes
are
sounds
for the done
very
In
which
9,
10
the
on
; also
crosses
In
looking pretty.
finger for 12,
that
the
on
the
and
in
half
the
on
last
should
they
the
half count
pair or
that
piece.
A
finger on the
tied
for the
the
advantages
and
the
on
of
study
a
each
on
the
play
frequently,
tied B's
the
; then
rest
just
throughout the
Make
repeating
and
Notice
notes) will equal bass.
evenly
to what
accent
strong
time.
the
is,
first
the
quite opposite
in
come
that
giving
get the
must
7.
pianist usually
second, is
the
measure
wrongly;
young
its aUoted
eighth-note
notes
Notice
which
note,
have
in trill form,
till the
the
accents
(of thirty-second
thirds
two
the
5, 6
of
Beware of
accented
them
first third
and
measure
of
in
thirds
beginning
frequently
grace
not
atmosphere
hand
right
the
at
first and
the effect of
the
of
hurry of playing
slights the
distinct
a
are
long ritardando,
one
^.^.|.^. ^."^. y ^.
notes so
of this section
bright, sprightly, allegretto
a
up
passage
are
groups
gives
background.
life.
pick
fingered
thirty-second
in the
kept
it is
which
The
movement.
Solos
problems
that
Gipsy
tempo,
a
5,
be
must
technical
the
overdone,
At
and
will notice
settled, you
Piano
use
black
observe 16
see
exactly
the to
with
left, being
lightly and
it D
ful care-
the
Brahms-Philipp reserved
accent
slurred. Observe
the
the
same
of
In
the
34
bounding a
piece
to
wrist,
of
make
to
the
repeat
Measures
42,
analysis dispels much fingered each
2,
3,
gradually
B-sharp;
B-sharp,
D-sharp.
precisely useless
at
as
to
If much
short
key
to
pieces.
of the
Notice
that
the
At
32
both
relaxed,
p
to^;
and, in
be
out
of
place
original
to
of
notes
form
thirds
G-sharp,
B;
C-sharp; B, D;
A-sharp,
idea
but
figures are
three
thus:
practice
small
same
bass
notes
upper
careful
the
51
notes
will dissolve
are
in different
executed
notation,
a
confusion. the
words
careful
most
affecting tempo
space
every the
that
the
has
composition,
worthy
2.
Slow,
"
of
means
Throughout, given
3,
i,
At 16
actly ex-
a
return
All
of this.
A, C-sharp;
difficulties.
in
quite formidable;
look
ascending chromatically,
G-sharp,
the
38
28
immediately.
from not
At
octave,
with
At
44
E, and
are
group
5,
i,
which
process. and
43,
it
light,
a
16.
done
it will
tempo,
slight accellerando.
a
tempo,
be
crescendo
strong
elastic
such
will
last
in
bass
the
are
ing stress-
executed
mordent
following
octave
the
by
of accent
be
79
right hand.
character.
will
with
passage
a
"wild"
7
they
Then,
giving
the
as
sound
octave
is for the
of 25.
notes
No.
which
to
syncopation
a
small
melody
A
and
distinctly
will
the
slur
manner
note
lowest
slurring
get
three
mordent
tones
the
a
passage
of
7, the
will
Dance,
principal
of each
you
group
the
1
carefully
airy touch,
the
the
in
first note
the
gives
for
Again,
Hungarian
"
line
execution
been it
devoted
is because,
of it; and, and
attention and
should
be
dynamics. to
a
comparatively
first, musically
secondly,
it will
serve
it is as
interpretation of its companion
a
35, No.
Op.
Automne,
2
CHAMINADE this
N
be
to
moods
two
In
wealth
golden
therefore,
tone
all
part,
the the
is
thumb
be
"nursed," in
were,
the
two
fingers
tion imaginawhat
to
of
to
a
used;
are
ample printed
left real
hand
legato,
but,
melody
the
being
a
register,
small
get
the
that
with
the
tent ex-
sung,
when must
it
as
breath.
one
stringendo,
(as
two-measure
sequence; of
this
in
measure
8,
eight
eighth-notes
at
of
arrangement
same
phrase
October.
of
out
the
swept
lower
as
consecutively,
complete
the
quarter-notes
measure
Strive
twice
leaves
the
well
as
in
outset,
the
keep
to
tone.
when
is used
the
At
and
last
faculty
bring
to
you
notes
in
for
the
and,
but
the
at
set
the
title, the
a
personal
accompaniment,
possible
the
is
trace
in
gales
apparent
it behooves
subdued
quite
which
is
large
swirling
the
on
melody
moving
the
direction,
this
can
September;
having
ated. deline-
color
autumnal
in
led
Enough
and,
of
the
entirely
individual.
notes
by
music,
be
depends
leisurely
Juoco,
program
surely
can
con
we
of
seem
autumn
of
days
warm
So-called
of
Lento
the
there
study
popular
most
phrase
phrase),
opening
the
and :
the
at
eight 80
12
we
you
thus have
eighth-notes,
will
notice
and
three
making the
a
first
partially
Chaminade
times
three
repeated
left hand,
the
It should
Lento
18,
and
happiness Not more
like
and
throbs
for
in
players should a
noise, if the At Insist
take
mostly
the
in
other
These
remember each
At
one.
remember
as
chord
on
chord
with 6
the
in
marked,
chord.
Young
of
in
pedaling
heavy,
deep bass
(beautiful
of sound
and
a
the
holds
in
we
third
the
seventh
Keep
the
in
the
which
of At
bass
which a
nected discon-
first
one
chord,
bravura
the
hard
to
in
appears is easier
dominant
to
seventh
64 is another
again.
the
parts,
distinctly
G
and
and two
chord
inversion
reins
into
are
a
the
beneath
pedal,
passing
have
ment accompani-
broken
a
measures
equal.
tones
procedure, which
reverse
yourself
firm
the
38, lettingthe
F-sharp (or G-flat). the
great
a
than
object
accompany.
to
58
each
column
along
three
owing
quite different
often
the
me
key
minor
pedal plays
more
a
to
seems
with
The
left hand
divide
46, sounding by
passage.
not
the
triplets amble
sing, the
but
prolong those up
"
No!
of
song
will, it portrays
you
triplet broad
when
first
this
permissible).
its chance
way.
If
2"2)' to
being equal
occurs
melody
shall
is
term
them
on
off in the
overlook
build
to
make
31
dashes
used
and
32
it is to
thus
which
person,
be
never
passage; and
notes
Juoco,
con
conditions.
may
instance,
such
same
and
part here, and
the
excitement.
of the
surroundings
it is
picture ; it
with
chief
the
All
nature;
nicely.
passage,
to
way
in
contentment.
part,
nature
a
emotion
the
next
do
to
higher register.
personal
a
imitated
easy
gives
81
2
"obbligato"
an
it
15,
also
is not
way,
No.
35,
and
like
in the
quiet
the
so
at
now
of
seems
the
front
down
Op.
sequence,
by
the
to
until, calming in
in
which,
come
melody
Automne,
"
Then
such at
66
Well-known
82
agitato
the
The
appears
contrary
octave
the
sense;
marked;
I find
A's, and
keep
those
along remember
as
bass
the
little group
is built
top of each
the
at
chord a
long
with
pause,
touch
off
soft
pedal
the
black
hand.
sharp
cut
not
two
so
octaves,
E.
At
easier
seventh,
At
74,
of
D-sharp energico
the
Then,
dry (sec).
chord
all the
Here
each
second
the
off
dolcissimo
to
the
Keep
76, dash
and the
is also
enharmonic
the
it all
on
A, with
be
to
finger
entirely.
note
well.
as
chord on
the
it off
and
ary second-
a
indeed, for four
72,
second
flats
the
A, with
on
only
B -double-flats
the
seventh
upon
the
at
The
forget
finger,right hand,
catch
that
out
measures.
"
in
contrary
right hand
dominant
that
; note
accents.
consider
your
four
it
point
may
pieces.
most
largely used, although
stress
to
you
motion
dominant
a
of
end
is unusual
should
with
it useful
measures,
is
by
the
passage
especially
A-flat, marked
in
toward
pedal
Solos
accompanied
first half of 69 is the
for the
G,
is
passage
which
pedal
Piano
after
leisurely
notes
are
for
keys.
Pierette, Op.
41
CHAMINADE The from
French
have
morning
till
evening,"
their
light
also music. all the
notable as
It is
a
so
with
discuss
time
lapse
to
in
into
of
; and
and
serious talk. a
woman
her
that which
regard
small
instance
composer
saying
a
"one
finds
its
vivacious to
be
cannot
tion exemplifica-
drawing-room
conversation
subjects, Mme.
; we
it is often
so
playing of such
a
name a
cannot a
relief is
Chaminade
making
grand
for
piece as
the
herself Pierette
Chaminade
French
In
the
by
in the
; and
page
school,
This
At
notes.
finger.
At
The
Make
the
from
the
the
make
accompaniment
at
Pedal
each
triplets,right
in the chord
the
of
three
is
only
passage
is
original; but,
fingers go fourths, to
27
the
on
to
a
the 29
if you
keyboard, of the
fingers,you
left
three notes
second
on
the
D,
not
easy
on
is not
bass
the melt
here.
note
end
will learn
into
which the
look the
study
hand,
measure
the
little connecting
thoroughly and
of
away
The
sixteenth-note.
which
next,
of
of
(at 22), separate
At
notes
notice
the
8
hand
left hand.
is
with
used
be
on
accent
of twelve
begin
should
pieces.
mostly
longer phrase
second
example.
will
You
a
better
possibly
This
"
boy
emphasis
the
consists
her
a
and his
measure.
melody.
jumping.
pretty chords
the
would
when
popular
most
title
the
on
suggested
followed
theme 1 1
8, the
of
account
the
you
thumb.
the
of the
measure
which
appears,
your
bits
small
have
of patter, with
kind
a
figured
unfor-
embodied
perhaps
as
account
quirks,
caricature;
of her
one
throughout
continued what
is
eighth-note
second
the
with
begins
It
fluenced in-
seems
good
Schumann,
that
have
may
de Ballet
Air
and
cleverness,
into
steps may
musical
at
great
was
Chaminade
Mme.
26
and
It is said
portrait.
musical at
foibles
her
the
thin
work
modish
were
herself,
Pierette
of
of
very
quips and
surprises,which
person
are
turned
been
It is full of
and
Some
her
and
quaint
a
has
composer.
turns
seen
is
trait
national
which
elegance,
school, especiallyby Schumann.
German
there
piece
this
elegant; but
always
the
by
pieces
drawing-room
although
poor,
of
"chic."
and
airy sprightliness, gaiety, modem
83
41
characteristics
French
best
all the
reveals
Pierette, Op.
"
where
tive consecu-
are
trick.
so
welcome un-
There
Piano
Well-known
84 is another at
and
50
curious
54.
Observe
full time
Give is
59
such
that
in
dominant.
the
with
roll
is not
unusual
the
which
at
be
proceeding
abrupt
very
triplets should
prefer
finger
the
the
French
major
(think
much
affected
The
touch
up
to
descending
measure.
of
B),
French.
little, so
pp
an
and, if you
123;
it matters
and
1 1 2
the
by
subject
is best
long
played
staccato.
studied
carefully
Having
C-flat
left hand,
the
use
correct.
are
you
with
to
not
at
in each
sparkling
run
coda,
the
octaves
first
tonic
same
the
be
is of
In
mime panto-
half -notes
the
77
The
84.
at
should
chord
the
119
At
left hand.
back
fingering
the
113,
fifths and
of forbidden
in the
legato
the
instantly followed
it is
"
being
through
held but
drum,
usual
60,
at
drum,
the
war
naivete
passage
gently brought
as
ending
it is in the
beginning
intentionally piquant.
is
must
of
the
effect for chic and
The
silence."
double
that
see
part,
The
pedal,
the
middle
the
form,"
In
in
"played
The
measure.
piece, you
the
analyze
"song
is
is
53
witty.
If you
by
fingers to learn
of the
movement
this
to
Solos
the
fingering, play
and
details
all these Pierette
as
a
tered mas-
coquettish
girl would.
*
Scarf
Dance de
Scene
Ballet
CHAMINADE This well
more
than in
known
With
our
clever
country;
melody
and
miniature
musical and
it deserves
harmony
of the
certainly is all its popularity. most
modern
Chaminade"Scarf
type, its strict adherence of
the
devotee
two
short
and
harmony
the
opening
alone.
The
hand;
B -natural
second.
At
tied back
to
natural
to
down)
of
the
to to
tones
At
the
33
should
be
a
the
melody
comes
a
note
while
C
the and
touch
be
first
between
direction sounded
chord
of
sustained
previous
sure
(stems the
the
chord
the
hands
the
second to
38 and
measure,
to
notes,
all
and 39 an
chords
seven
emphasizing
hear
in
is taken
of
the
effect
half-
36, the
with
back too
light
a
See
measure.
Notice
it.
is tied
Then
following B-flat,
the
beat end
the
first
and,
six notes;
of notes of
but
while
and
on
be
it is
Be
chord
between
the
to
accompaniment.
the
sustained the
on
in
measure;
right thumb
the
through
be
and,
because
left hand,
The
enters.
crisp staccato,
must
the
exactly together.
theme
tones
for
chord.
next
stems
and
12,
notation
in
half -notes;
of the
are
is retained
is divided
the
natural;
E-flat, B-flat
earlier
6, 9, chord
previous
the
quently Fre-
down
is natural
for the
played by
measure
second
eighth-note
the
is
the
the
overlapping
the
of
treble
5,
3,
point
of the
15, the
legato phrase
on
character
stems
is made
B
first chord
In
holds
according
but
with
second
4, the
nice
a
inserted
9.
following
the
is
be
must
right hand
2,
first chord
B-natiural
the
of the
in
measure
the
measures
of the
of the
B
E-flat in
use
from
technique.
of
with
notes
In
there
8
The
delight
moment
first
the
D-flat, while
retains
noticed.
dull
a
points
play
also, in
in 7, the
the
few
combinations.
hand
built
contrasted
so
is not
a
to
all similar
right
observe
pupils try left
for the
should
form
Though
are
there
85
closing chords.
and
hand
right
they
that
us
musical
to
classics.
the
themes,
First, let
Dance
to
that the
often
the
B-flat lost
by
Well-known
86
Also,
students. disturb
Six
the
rhythm of
next
skilled
a
this former
held
without
7-8 follow hurries
the
the
again
danseuse.
of the
The in
aid
of the of and
9-10;
by
the
balance
to
should
them
over
5-6 and The
four.
six
are
be
should
Measures
there
two
and
speed,
lines
previous
then
ments move-
measure
the
pedal.
the
most
first
measure
second
indicated
as
the
sufl"cient first
Also, the
rhythm in
elastic, suggesting
chord
next,
the
62.
to
59
ritardando
a
each
till the
this
"
have
and
at
to
eighth-notes.
need
gradually quickened
hurrying.
legato,
very
of
will
43,
mordent
the
passage
premiere
be
allow,
with
be
Solos
not
the
those
should
should
two
be
also
should
measures
of
beginning
reading;
The
do
39,
evenness
measures,
careful
in
Piano
time
measures
of rallentando. The
second
with
movement,
finger
theme,
only
where
a
Use
staccato.
marked.
to
33
to
be
quite steady in
slight ritardando in
pedal
no
Observe,
dynamics,
48, should
avoid
in 40,
this
period excepting marks
the
throughout,
erning gov-
in power.
monotony
Serenade,
is
which
Op. 29
CHAMINADE For
those
here
is
that
the
any It
a
sense
charming tune
same
of
is most
sustained
who
love
"song from
repletion.
"tune"
and
"
without
words"
beginning There
is
no
artistically constructed; on
this
account.
to
does
who
not?
un'th tunc,
end, without
"
and
giving
contrasting thought. and
the
I will, therefore,
interest add
a
is few
Chaminade
which
notes
also, when
only
play it, clear
you
requires
pages,
nursed
needs
accompaniment
The
noticeable. three
of two
languorous
as
have
we
measures
and
eighth-notes
the
times.
three
balmy
At
only shyly,
the
17,
for the
of this
tenor
melody
cadences,
such
as
not
marked,
will
surely be
ritardando; At
the
21
attention;
alter
in 33
the
tone
to
22
enable
in such
melody
enters.
cases an
forward,
and
20,
periods by
up
tell
by
real
the the are
to
; this
intuition
you
It should
the flow
and
well
worth
take
place.
can
Try
to
hardly
be
all
keep and At if
the
ethereal, a
43 on
to
come
may
to
sing as
notes,
accompany
and
violin.
a
eighth-
initial
should
Remember
on
voice,
two
eighth-notes quite delicate pizzicato
clear.
lower
legato
slight
a
made
are
a
of
although
with
treated
but
The
steps firmly in.
marcato
do, it is almost
dainty
a
phrase repeated
12
finger-marks
quite unexpectedly.
a
to
two
measure
disturbed.
inversion
is easy
leading
At
be
slight "nuance"
the
color
the
the
the
half-note,
come
measure
is taken
few
a
dolce, before
accompanying like
The
those
measure
taught you
subject
in
way
being
half.
quarter,
this
theme
same
The
notes.
At
in
alteration
slight
the
for
these
of
little
not
various so
to render
soothing, dreamy,
"
must
must
the
gently
evening.
summer
half
second
At
made
rhythm
quarter-notes
be
chord
light
be
must
Not
below,
the
quarter-note,
a
"
two
a
also
is the
for
justice.
now
self-control
fingers need
and
you
just suggesting.
only
pretty
it
and
under-melody
How
parts.
motive
10
bass
the
time
do
to
but
to
undisturbed
above
now
clear
course
finger
firm
a
87
29
listeners.
your
its
clinging fingers,
with
same
to
runs
melody,
the
must
its form
make
to
cantahile, which
The five
help
may
Serenade, Op.
"
a
tenor
violon-
Well-kno\Mi
88
The
cello.
place real
thumb
fourteen
with
the
it
the
and
B-flat
major
the
voices,
which
and
so,
at
in
make
49
you
pedal,
the
which
a
the
start
bring
you
second
the
is
often
As
87.
alternately,
measure
9
Begin hand.
left
the
subdominant
the
at
in
case
eventually
they
1
of
finish
be
must
legatissimo.
finger
keys,
hands,
two
and
easy
new
sang
At
before
between
and
are
C-sharp. pause
fifth;
augmented
the
tonic.
the
sounds
thumb
pleasant
;
black
divided
until
is
dominant
a
to
melody,
practiced
How
on
Solos
45
slight
a
gently
very
The
it
and
measures
at
the
on
pianissimo
back
chord
pretty
your
Piano
a
duet,
sing
by
79,
gether to-
in
singing
,
tenths.
In
the
had
the
just
hums
Use
both
coda,
flowing it.
the
measure
phrase, The
pedals
the
99, at
two
in
55,
quiet the
which
tenor
now
chords
ascending
has
previously melody,
the
are
very
arpeggio.
effective.
but
57
Op.
Berceuse, CHOPIN cradle
this
N
soothing
a
of
piece,
the
from
the
indulges
here
steal
might Chopin
invention
his
Looking
major
"the
4,
measure
be
should
there
is
detected
hand," 7
by
to
13,
If
self-willed.
perfectly played
legato,
with
one
this you you hand.
will will
play
this
hear
how
the 89
is
well-
two
a
that in
thus,
third
; it
would
listener.
is
Thalberg,
becomes
Of
that
This
with
a
joined
at
"kneaded
mostly
"alto"
richly
doubled
trained be
of
melody,
another
measure
simile
a
use
she
music,
and
hand.
left
being
the
should
that
obeyed,
doubled";
the
bear
not
so
be
must
be
in
C
by
which
melody,
and
first, there
part
not
no
will
instantly The
At
third
mother
his
of
most
a
inexhaustible.
which
harmony
in
dominant
the
left-hand
does
efforts,
"fioritura,"
in
well-nigh
the
at
in
As
Only
the
though
successful
her
room.
seems
rule
known
of
but
form
55,
measure
as
appearance,
herself
satisfying
were
of
its
make
seventh
in
harmony.
very
end,
the
near
paniment accom-
out through-
only
not
the
in
also
of
carried
is
by
produced
figure
a
which
others,
most
is
monotony
repetition
the
in
as
song,
in
duet
with
it should
voices,
ure meas-
motion.
contrary
quite
less bone-
and
wayward two
hands,
sound
probably
when the
Well-known
go
will
one
upper motion
In last
Study
voices.
thirty-second
succession, in
the
In
each
on
This
group. touch
in
much of
be
must
the
fours.
recognize
at
flat and the
the
end
of
this
brain.
motion It
notes
will
these
difficult.
omitted,
to
is not
the
least
find
but,
in
be
difl"cult
nant-seventh domi-
last
ure Meas-
note
Bat
the
on
this
ical crit-
pictured of
the
up,
twos
groups
to
securing the
there
the
two
kind
a
leaps
triplets,with
these
the
;
is
And
the
on
descending
must
there
the
in
them
by
awkward
one
falls that
the
; and
themselves see
In
ninth, B-flat.
is welcome
chords,
certainly
rhythm
natural
equal
an
it is noticeable
"
followed
the
are
memory
You
in
is
measure
the
passage,
E
get
tone.
play
dissonances,
two
ascending
Ear
keyboard.
the
with
begins
finger on
rendering.
will
triad
ful, care-
top of each
accent
the
you
then
Be
understand
in
tonic
the
the
will
27,
of
procedure
same
G-flat, and 28
to
You
extensions,
first,and
tend
in
accent
third
will
length
right
ones.)
of four.
the
whatever
accent
the
at
it is when
harder
the no
the
use
the
careless
the
the
see
G-flats, and
alternate
and
gliding
a
in
19, with
place
to
you
to
groups
study
quality
scale
how
4
exhaustive
both
chromatic
fourth
scale,
fingers 5,
the
of
15,
three
(This,
notes,
get
absent
F's, then
of the
note
ascending
22
left,but
natural.
to
try
measure
three
are
G
is
note
the
Solos
; but
At
in
there
18
the
In
smoother
C, is present
hand.
G.
the
both
in
third,
the
be
Piano
on
contrary down.
next
the
correct
of each
part of mastering
one
this
passage.
The
by from
descending
the the
following music
:
chromatic exercise
Place
the
which
thirds may
fifth finucr
on
learned
are
best
be
studied C
and
the
apart third
Chopin
natural, and
A
on
with
beginning and
so
The
of
Be
formed
is
arpeggio
at
passage
repeated
; and
notes
that
an
board, keyfours.
and
and
of
at
In
for
measure
second
The
only.
sixth
a
the
note
not
call
39
finger.
to
ural, nat-
exception,
chromatic, you
A the
interval
keys
urge
and
threes an
i,
91
thirds,
all down
sixths
3, 2,
black
of
I would
again
as
fourth
is diatonic,
45
are,
5
in minor
both
broken
weak
of the
use
finger the
sure
The
38.
alternate
35
No.
lo,
sharp
this
accents,
from
measure
F
on
Practice
technique.
begins
turn
down.
Op. scale
the
fingers
same
measures
same
44
down
all kinds
four
the
in G-flat,
come
the
on
with
the
Etude
"
pretty
diatonic
and
in
study
it with
ous vari-
the
"tempo"
and
accents.
At
measure
47
players forget
young
invariably hurry; perhaps, has
Chopin thumb
the
value
Etude
of six
long
it is
easier;
as
caution.
sostenuto
a
E flat, in 52.
on
in 69, the
added
because
Lastly, give
Place
long note,
beats.
G-flat, Op.
in
the
ably, prob-
so,
10, No.
5
CHOPIN Besides
study"
holds
being As
a
excessive
are
get
for
own
great
a
the
with
in
effort
and
every
it must
study
if be
"great
follow
note.
in
practiced
too
temporarily
key
only competitor the
key.
same
the
pianists" indulge
it, even Its
"black
unrivalled, but
it stands
the
to
value, the
favorite; the
octave
which
catching; but,
stale
first
as
digital display
speed
familiar is
its
perhaps
piece
requires
technical
having great
by
those
effervescing rapidly,
the
laid aside.
who
ance exuber-
fingers
Well-known
92
Using
black
the
only
this
fingerhold, The
best
is to
way
discover,
"take
exception
may
be
cases,
which
will
note
with
repeated,
instead
used
this
in
third
the
the
for
; but
evaded
often
here, although adhere down
24
to
write
would
of
the
notes
treatment as
is easy
enough,
but
start
27
this
in
curious fours
"
this
fours.
ler stick-
a
which
is
for
its
so
use
certainly
it is at
passage
second
because
of
T)^ where accent
with
to
the beats
the
in
second
companiment. ac-
at
23,
the
on
is most
notes,
is
no
twos,
Do
flying
passage
with
measure
thumb
lets trip-
This
any
course,
commended.
the
the on
foot
of
accents
the
of
Either
sixteenth-note be
If you
groups
applied
the
begin
practice
is advisable.
foot be
reverse
yet it may
with
is to
passage.
they arise, but,
the
way,
then
am
fingering from
different
your may
if you
on
and
of
beat
To
to
tire, then
to
I
similar
another
quite
get
or
equal
which
possible accent.
every in three
out
score
searching
very
with
notes a
metronome
of the
2,
5,
editors.
is
finger
suited
get equality of touch
to
way
would
you
and
2,
is
30.
right hand
the
i,
finger,
the
by in
fingering
excellent
An
marked
many
gist
I
is not
is
measure
The
begins
fourth
the
left hand
my
so
the
to
of
use
proper
hand
third
"wheel."
another
to
first
2.
hand
the
first
fingering in
the
measure
own.
and
your
triplet fingered
until
attention
your
If
rower nar-
its
horns"
The
later.
fifth, in
practice persistently turn
the
to
difference, that
of the
difficulty lies
the
by
difficulty.
found
therefore
and
difficulty all
a
bull
the
small,
we
has
the
Solos
raised
keys, study
focus,
then
Piano
but
each
on
finger;
for groups
not see
accent
but
of threes
beat;
wildering betreat how of tice pracand
The
Chopin"
Nocturne
left hand,
at
(reverse still harder
is
57
at
69,
three
difficult
are
black
of the
varied
third
in
Nocturne
here
observe
No.
ninth
that
the
extensions,
fingerhold
small
be
may
practiced with
hands
with
case
The
but
fatigued.
repeated
the but
together" try
Major, Op.
Sharp
F
is
of the
passage
in this
accents,
hand
account
on
The
keys.
practice);
similar.
not
nically tech-
separate
group;
are
93
unusual
most
as
with
passage
bass
in the
groups
left hand,
the
first and
the
on
is the
the
Major
Sharp
me
in
accents because
curiosity
Another
strikes
55,
the
in F
15,
2
CHOPIN There
is here
patriotic feeling as
in the
in
a
of
which
is
his
polonaises, ballades,
nature,
full of
its
to
Chopin
entr^
Op.
15,
idle
reclining, which
some
the
to
F
sharp
it will
fall of
suggest
evening
he
salon
every
major,
half
softness,
and
strong
and
in the
to
disturbed un-
must
man
resist
must
ladies'
any
city.
the
on
mood
of
of exotic some
The of
and very
gained key
evening.
summer
to
of
and
sweetness
flowers,
hazy
and
composer;
all Paris
is redolent
smell
shades
the
captured
befits the
feminine
physical.
all others,
the
the
the
strains
or
Nocturne
indulges
He
perfectly adjusted
so even
seductive
is, above
his Second
is
that
mental
effort, either
scherzos. from
strong
larger works,
in his
nothingness,
sweet
enjoyment succumb
and
comes
Everything
roundness.
by
evident
so
dolcefar niente which
composer's
Polish
of the
trace
no
To
others
land-
Well-known
94
or
scape, wreathes
of
However
led
sleep.
not
But
No
a
bear
to
to
twice
watch
in
a
weary
the love
eye.
against
strongest welcome
music
hard
a
the
fit the
try their
to
It
velvet
the
on
never
such
touch,
bedecked
sunset
could
Chopin
transient
some
come
How
instance,
said
and
will
tone
for
is
melting
of
melody.
nocturne,
alike; always
for
or
petrify
this
the
Fingers
required!
and
the
does
her
reproduction.
child's,
a
be
may
when as
with
imaginative
pianists
at
piano-player.
played it we
as
listen
mechanical
as
all
is
dry bones
the
voice
perfectly
hand
supple
as
siren
wonder
the
to
times
are
creation, but
at
what
wrists
you
how
Besides,
hand,
there
Nicotine
of rebellion
feehng
Chopin's
pianoforte.
from
the
Solos
Lady
My
appealing
so
captive,
welcomes
of
aroma
smoke,
strong
being soul
the
even
Piano
with
descent iri-
cloudlets. "All render
very
well, this," you
these
attributes?"
indeed; and
and
taste."
but
also
which
and
the
their
his
will
the
the
after,
only
better
Let
unfold
and
us
proceed
everywhere!
you
the
to
Study
must to
gain
of
is:
"Very
few,
poetic fancy
sensitive
a
can
us
touch,
inexpressible something and
play
such
the
study the
growth,
it into
transmutes
Still,
understand
its tender
expanding
an
gift of
understand.
Before,
technique
to
the
who
decided
great compatriots
after.
to
have
who
only
answer
composition
interpretation, and
The
abilityto impart
Hear you
only
It is not
perv^ades
gold.
of
those
"but
say,
to
a
nocturne
appreciate fore be-
nocturne
requisite command its
perfect
which
can
form be
;
and
likened
flower. the the
printed diminuendo
Usually, ascending melody
Detail,
page. in
bears
the a
first
detail ure. meas-
crescendo, but
Chopin here
is the
tone
for
fingering, measure
of
of
divide
equally
is the
to
The
small
fingered
and
note,
The
relished.
hand
15, much In
the
and
trouble
the
best
nothing
late
as
scale
play is
friend, in
which
in
major.
sharps
and
the
(Some
in this
left hand
is correct.
"
Ed.)
In
first and at
is best
Strange
other
again
"
notes.
the
have
chord, instead
must
do "
thought that
one
new
a
ony monot-
no
descending the
which
22,
a
be
fingered
delay
in flats, yet the
copies
can
appears
17
key
chord
is
16
At
chord
The
flat
B
how
again
dominant
the
hands
Small
what
providing
part-writing
way.
players,
young
the
12
bow.
See
5.
where,
7,
in
dominant
the
at
one,
and
note
off his
have
over
same
the
one
rare
to
strange
accepted
off
we
best
are
11,
be
lifted
trouble.
possible. to
one
three
play
quite capable.
sharp
take
in the
the
on
as
itself,
in
its attention
but,
must
hand,
though
much
too
bewildering old
left
Note
can.
phrase beginning
chromatic
ically, automat-
true
dividing
throws
large enough,
they
of tone
be
violinist
editors is
is
plex com-
so
done
dissonant,
natural,
another,
properly played only the
D
must
the
as
hand
cannot
Yet
fioriture,measure
The
first measure,
seventh,
your
the
at
sequence.
beautiful
say,
an
hand.
notes
in
brain
the
In
of
One
be
can
approved
device
two.
notes
of
doing.
two.
being absolutely
part
effort, but
each
equally
these
that
worth
against
95
quahty
the
to
oft-repeated
between
apples
hand's
mental
by
not
five
notes,
mind,
each
trouble, but
Chopin's
five
different
a
sharps, keeping
more
have
number
odd
is
we
3
C
the
which
Sharp Major
Also, find
exception.
each
in F
Nocturne
"
of
is as
hand human
scale so
your can
mind
misprint here, C
of C
double-sharp
Well-known
96 At
Count
notes.
shape, do in
chord
division At
somewhere
of
the
of
pedal,
effect.
At
33
the
in
quiet played The
It
is
said afore-
the
following become
may
beautiful
exceptionally
five notes
slightly changed
is
Make
the
36, and
soito
of
most
whole
the
keep
marked
The
the page
but
voce,
How at
at
mostly
top of each
the
in
Nocturne
is chromatic;
delicate
and
the
those
close
ing quiver-
of
a
dissonant
descending
long notes
at
group,
37, No.
G, Op.
brilliant
like the
are
at
are
do
fingers.
which
regretful
divided, for
be
must
your
earth
the
on
1
first half
passages
descending
5
56, with
at
shimmering
repeated,
fioriture in
print, only
begins
day.
summer
oft
the
coda
haze
and
halves.
two
at
trills and
dominant
an
note.
28
difficult
into
The
of
the
roughly.
too
look
not
in
tone.
more
study,
is
figure of
the
tenor
of
early part
that, in the
so
up, of the
which
thirty-second
ohhligato
tumble
and
part-writing, the
equal
correct
assume
impossibility
is lifted seventh
kind
by
they
in
the
five
group
apples).
strain
the
32
six measures, a
the
(remembering
measure
the
until
over
worry
Solos
make
aloud
them
not
bass
the
Movimento
Doppio
the
Piano
58.
2
CHOPIN A
German
critic
distinguishes rounded, He
warns
atmosphere
and us
"
this not
"not
"A
wrote:
it
Nocturne; without to
tarry
it bewitches
a
beautiful
being
certain too
and
long
sensuousness
luscious,
degree in
unmans."
this
of
soft,
languor."
treacherous
One
can
see
Chopin" at
difficult. The
and
minor,
vice
G
pair
at
pair except
that
and
alike
first and
begins
only other
26
at
Thus
second
the
is
double
a
point, in remembering
with
the
How
similar
pleased of other
place
middle
portion
find it
to
parts
shorten
not
vanish.
and
(this
in the
pin p, but
is
little
why
"nuance"
wUl
middle
further in 60
pianists love should
is not
been
difficulties is
easier).
all its smoothness
invite
almost to
you
Do
will
sluggish dwell
tionately affec-
rocking melody.
quarter-note,
voice
have
the
movement
much
so
least
Notice
characteristic of this particular
so
the
notes
or
of the
octave
upper
bass
(being
11,
starts.
at
technical
justifiesan
note
I would
most
the
fast
each
dotted), and notes
too
cantaUle
the
descending
tune
the
sosienuio
on
the
that
critical
ornament
and
great
ine
confused
be
of this nocturne,
so
pairs
measure
play
The
form
to
A
80.
to
playable.
third
alike.
not
the
book
the
eighth-notes
the
The
tempo
so
are
generally played
78. where
in
the
the m
is at
natural, must
F
in
first two
at
nocturne,
opened
have
many
soothing
this
starting note,
the
where
major,
in A
one
on
fourth
the
like
also
pairs
two
10,
end
and
the
say
exact
an
measure
C;
from
may
we
it ends
is
double-flat creeps
E
an
at
flat, is agam
A
pau-s^ all end
rule, they
pair
is
3
in
alike, begin and
pair, both
ending.
another
second
starting from
23,
measure
run
a
97
2
begins major
one
starting, however,
mode,
minor
are
third
The
flat
the
As
The
versa.
transposition of
C.
is. if
that
mode;
other
in
passages
on
No.
37,
sixths
in
passage
begin
both
pair
G, Op.
descending
These
first the
in
the
that
glance
a
in
Nocturne
to
point and
be
there
out
are
Although
64.
extract
58,
measure
a
full round
soft, like
velvet.
necessarily printed;
but
is
no
not
tied
marked tone
Each every
Well-known
98 would
one
pedal
to
a
begin
the
melody
At
69 the
and
this
loose
a
alone. a
wrist
In
sUent
the
has
hand
also
on
use
the
"dwell"
on
of
which
soft the
before
the
lento, which
be
note
practiced be
must
missed
should
measure
tained ob-
perfect fifths.
in
is often
be
same
which
pause,
descend
notes
unbroken
only
can
better
the
pedal,
the
fingers on
of
It would
closing
dominant
a
speak
to
part,
change
bass
added
The
amateur.
enters
action.
the
and
53;
place
measure
pause,
Chopin
the
skilful
a
at
and
52,
64.
left
the
Solos
measure
theme
perhaps of
by
in
nocturne
is
in
theme
note
continuity
and
calando
make
first
Piano
be
by
the
almost
luctantly re-
played.
Polonaise
in
Sharp
C
Minor,
26
Op.
CHOPIN The
curious
is best
measures
broken
and,"
music
It will
chords, third
is not
the
B
rubato, but the
none
plenty sharp
in
Give
the
a
the
the
quarter-notes
their
"one
and,
the
some
fourth,
less excellent.
B
is often
3
and,
two
established.
In
for left hand natural
with
are
divided
octaves
Chopin's of
shuffling disregard
3,
by
they
measure
count,
is well
measure
of material
becomes
time
to
before
three
are
introductory
two
full chords
rubato.
true
followed
fingering,but
best
rhythm
right hand,
finger
6 afford
be
till the
is full of
keeping
culprits.
young
full value. three
in
The
hands.
two
spoiled by
studied
Technically, they
up.
between
effect of the
syncopated
and
second editions which
third
give is
a
Measures
study; the
time
same
the
cross-
5 and note
that
finger,
in Choplin-Polonaise
and
indeed, the
hand;
sharp of of
stretch
measure
9 should
measure
which
notes,
composition,
should
tamed
melody
The
as
in the
bass
note
than
One
more
point
before
marked
long
both
with is
as
spoil
to
be
of
measure
slur and
possibleand
value
great
them
(in American
14
twelve
Ed.) the
E
the
for
if you
double
your
to
one
and of the
the
last chords
the
insert
copy,
is to
with
be
it in
and
E.
on
culty diffi-
the
mter-
reprinted and
time
is
he the
in
18 ; if not
the
easier
editions
only by countmg measure
from
third arpeggio
several
14
first 26.-
will find it
pencil. Again Each
the
arpeggios.
without
you
of
is
measure
line down
The
In
measures
at
measure
three
are
conveniently of
effect
simplifiesthe
time.
as
melody.
a
after another,
mastered
"and."
draw
which
first one,
most
so
are
held
be
repeat of
the
There
without
thumb is
sharp
and beats
students.
measures
use
four,
beneath,
note
young
inversion
an
next
bass
practice them
vening
and
three
notes
an
full, this is
m
phrase
refer to the
arpeggio
the
in which
is written
grouped
to
First
editions
measures
is
Such
shorten
separatedby
be
to
sus-
unportant
this
should
dot, they
edition
on
and
When
y
yet allow
Klindworth
the
In
resolve
to
of
rendering this expressive
in
as
better
flow
scarcely appreciablemterval.
a
quite
is
the
tenor
parts of the
various
leaving this penod-I
touch
staccato
at
tenor
double
the
m
to
is
figures of quarter-
it would
and
the
half
bass
small
a
F
carefully enunciated
be
the'treble theme;
felt
melodic
The
in the
appear
sharp
and
99
measure
the
for
F
sustained
be
in the
care
a
dissonant
following E sharp.
the
is
Have
The
7.
tenth
of the
spoiled.
nearly always
26
Op.
difficultyis aggravated for
9 this
in measure
Sharp Minor,
C
is
the
so
in
cult, diffihalf-
syncopated.
Well-known
loo
the
Make
louder
one
The
16,
14,
than
sotto
which
notes
timist." measure
but
(for
able
be
to
diminuendo pause
with
the
on
after
the
This
must
In
last
"glued
of your the
of
plenty as
ness.
You
46
into
being
pedal,
real
of
same
Linger sound
The
may the
on
you
as
if your
have
a
sudden
the
and
beware
The
so.
but
as
unclean-
any
in
make
not
printed
are
of the
as
or,
keys."
"put all
fingers were
fingers
marked,
pause
same.
your
texture.
said
begins
yet the
without
be
ody. mel-
new
Do
must
slight
said;
they
get
with
a
trill
mosso
where
in
note
afifectionately
overheard.
course,
and
Chopin, The
them."
the
only suggested,
only
otherwise
cannot
start
Beethoven
as
because
not
convenient;
are
it must
be
smaller
notes
make
forcibly striking
thumb
strong
freely
45,
keys,"
the
to
ful "doubt-
a
impossible) ;
to
most
meno
"link"
a
tied
changed,
the
at
accompaniment
melody
Use
discourse
mendous tre-
a
half-counts,
accompaniment.
said, "without
the
Let
out
enharmonically
be
in
you
brought
to
it is
also
before
be
note
sweet
Thalberg
aloud
rallentando, and measure,
the
must
link
the
is
the
hands
large
and
to
up 21,
hold
to
in
it resolves.
works
measure
try
but
any
devoted
most
a
not
count
and
resolutions
usually brings trouble
I would
20
at
first beat
the
which
on
and
voce
Here,
of
their
to
chord
the
martellato. of three
glide
18, 19,
begins
passage
Solos
dissonaces,
quarter-note
measures
each
Piano
measures
know
you
melting
sitions. tran-
measure
5
1
;
"held
momentarily
up." At
extending
passage
study,
we
54
not
it
more
only
fine
for
16
because
than
sustains
example
of
It needs
measures.
it is for the
'cello
a
the
musical
left
hand,
interest.
obbligato a
special but
cause be-
Much
Prelude
Chopin" could
more
been
has
them
given
stimulate
to
Flat,
in elucidation
written
be
in A
loi
17
Enough
of details.
careful
the
No.
student
work
to
out.
Prelude
in
Flat, No.
A
17
CHOPIN
What
is the the
hand
right
allowed
it with but
focus
the
tone
What
all your
making
makes
the
section
of
two
sections
phrase
flat
then
three
when
the
Measure
43
phrase
measure
notes.
This
melody
is
sequentially and forms
such
into
the
lead
keys;
is
step
65,
feature
of the
the
five-measure
a
sequentially back
we
arrive
on
a
at
two-measure
again
polated; inter-
into
the
amplified. with
each in
with at
measure
grace 51
the
being
E flat, the
nant, domi-
pedal
which
long tonic
prelude.
four-
new
a
higher; and
step-wise, until
should
you
ornamented
melody, a
us
sharps
to
finally, at a
the
of beat, and
an
23
being
subject
repeated
treated
At
25
returns
of
Play
is its formal
to
If
sharps
beat.
measures
down
comes
with
begins
first
not
must
following points: Each
the
measure
appears,
the
part, nursing
balance.
note
on
voice
listen
to
easy
and
change
begin
key,
so
measures
enharmonic
the
left
as
paramount.
tune
memory,
and,
the
striking
this
upon
construction
it from
with
not
pressure,
it
clarionet;
a
perfect "cantabile."
a
interest
and
rhythmical play
equal
firm,
ody mel-
sensuous
attention
divided
this from
detract
of
shares
free, but
chords,
to
a
tone-color
is not
this
playing
in
at
and
texture
accompanying be
aim
must
you
Well-known
I02
Let
us
it,
beneath
Even
5.
measure
A
with
second) editor's
of
complicated
the
finger
same
At
measure.
The
keynote.
used
if your
hand
assiduously
all
marked
the
"
succeed.
you
played
neatly
shade,
your
notes
at
bungled,
you
With
regard
own
the
to
clean
pedal,
tasteful
rubaio,
make
will
it
alone,
general the
if
welcome
a
the
leading
finger
the
to
better
are
finger
be
alone
pedal
the the
accompanied un-
may
hand
better
eff"ect
marked
and,
of
the
with
the
22
end
left
the
Preltide
study
more
a
stronger
Practice the
through
a
47
keep
at
on
third
and
43
small
if you
the is
of
reading
the
20
mented aug-
a
and
at
the
and
is small.
Prelude
the
by
nected con-
sample
a
course,
In
finger
same
ascends
with
of
A;
semitone
a
this
25
grace than
as
simplified
repeated
the
therefore,
and,
note
24,
taken
be
be
finger (an
finger again.
down
drops
be
and,
is harder
should
sharp
B
ure Meas-
legato
this
"
fourth
will
on
real
a
fingering, but,
score
finger
third
your
get hand
weak
may
fifth
the
use
difficulties:
same
the
the
thorough
would
hand
the 21
this
"
it is to
"
in
in
with
the
kernel
staccato
a
technical
the
to
the
presents
3
in
turn
now
Solos
Piano
will if
"
light
possible,
addition
as
only and
racy, accu-
to
your
"repertoire." The
inner
apparent it
sweetness
"
command
nun's
of
has
hymn.
the
Prelude
the
the
seems
"grandiose"
becomes
bell-note
of
meaning
and
suggested
to
keynote. Chopin The
keyboard. some
is
a
coda convent
not
In
necessarily middle
the
demands with scene
wide
a
its
tolling
and
the
Prelude, Op. 28,
Chopin"
Prelude, Op. 28,
No.
15
103
15
No.
CHOPIN is said
It
island
where
it
in
depicts
on
in
and
the
we
well
may
far
By
the
used
pedal
under
voice
carefully.
melody
running
careful
conjure day;
wet
sing into
his
but
Beneath
cumstances cirear
the
the
of the richer
fourth
is
flat is
than
to
the
with
of which
hand
last
after
section, to
bass.
G
chief the where
sharp, The
They
one.
the
near
there
the
deep
the
voices
Keep
three
groups,
only
occur
enters,
each
special
a
at
the
the last
prelude.
ever-present
melodic
this,
off after
are
of the
or
alone.
tone.
Make
theme
end
over-
Above
full rich
a
not
third
a
standing
part
phrase afresh.
each
the
middle
changed
bass
is
theme
this,
persistent drip.
the
ornaments,
smorzando, the
a
the
there
chief
the
Besides
phrasing, lifting the
measure
marked
as
melody
begin
to
as
so
study
clear
sostenuto
strictly to
parallelwith out.
quently, conse-
alone, with
conscientiously studied,
as
all this
work;
left hand
in the
But
working
be
part must
underheld,
In
a
the
depressing
diligently studied
be
very
needs
which
each
such
left hand
difficult is the
more
it should
slur,
from
melody.
sweet
play
should
music
Chopin's
an
of
under
surprise that
feel
eighth
difficult to
It is not
or
monastery
a
reiterated
impressions
the
memory
prelude,
raindrops, perhaps
window.
of his open
eaves
in
The
day.
wet
a
written
was
the
in
stay
this
health
of
quest
dripping
the
composer's
the
nocturne,
lodged
he
note
up
call
we
during
Majorca
of
shall
that
interest
of the
A
note
is transferred
brethren
are
Well-known
I04
heard
in
chanting
approach
the
almost
felt; and
be
voices
become
when
it
next, breath
is
of
like the close
sotto
double
Then
file of monks.
the
they
his round
go
Be
careful
sharp,
after
omit
raindrop
a
matter
here
not
The
hurry
full of
touch
A
friend,
the
single be
must
and
"The
pedal
is
the
tone,
not
as
notes
you
sharp, C
D
have
in, which
the
at
a
to
will not the
Use
excusing
an
peep
window.
may
note.
it is
one
are
more.
pedal
apologist.
end.
with
clearly played for
they
open
sharp,
comes
sing
parts
see
once
B
false
a
two
ff, where
Perhaps
would
as
the
return
sharp
the
to
the
dissonances,
where
prelude
life-like
to
crescendo.
the
trusty
a
again,
your
much
so as
of
toward
in
chord
almost
book
aid
each
the
can
but
marked,
twice
your
At
one
composer,
from
curiously
Make
pianoforte."
might
pillarstheir
Used
weld
they
its valuable
of
voce.
to
the
is not
pedal
As
breath
behind
highly advantageous.
the
on
their
themselves
just long enough
measure
Do
The
avail
even
cloisters.
the
retire
they
as
Solos
window
subdued.
sonority,
in
parts
composer's
pianists would
most to
two
Piano
broad,
a
composition,
noble
humanity.
Valse
in
Minor,
A
34
Op.
CHOPIN Much and Valse and
of
Chopin's this
although
Melancholique, below
composer's
the
music is
not
is
tinged
labeled
with in
yet its discontented
dominant
nationality
; for
betrays much
of
melancholy,
modem
phrase
swaying
above
unmistakably the
Polish
music
the is
Chopin in
set
the
in
brood
great
a
dream.
of
the
shaded from
music.
necessities
when
little
many
and
nuances
enjoyed? Chopin. music
deplore
we
so
our
attractive
help
the
finger the
in
with
Cotta the
second
means
usual
four
with
the
were
fingers
which
the
inseparable
else
seem
his
can
be not
mately inti-
attempt his
interpret temperament;
in
others,
still his
So
it.
let
even
music
is
try
us
to
following to
trait
fingering,
begins, by
there
the
the
is
a
real
by
end
erly propoff
the
where
the
capricious
syncopation,
hindered of
being
Then,
beat.
the
with
begins
with
note
and
little slur
trill
the
melody
a
repeated
third
the
suggests
the
momentarily is
ivory keys,
to
And
the
it insures
accompaniment
interference
cool
faculty
is clever
sixteenth-notes
valse
bystander,
This
The
executed.
than
rather
romantic
and
measure
"
wrote
is, with
How
Klindworth
edition first
way
would
exuberances
play
to
to
seems
details.
some
finger.
the justifies
note,
all love
full-
manner
penchant;
subtle
the
interruption
no
deficiency.
own
that
tyro
the
In
this
appreciate
can
own
invalid,
players should
highly
a
his
never
seem
played.
British
a
rightly requires
yet all
and
playful
Many
is not
It
perfume
is
Chopin
his
candles,
tread
Soft
Beethoven
drawing-room
and
that
bitter-sweet
of
and
Wax
light, flowers,
he
consumptive
the
air.
open
his
if
of
that
exceptions,
that
the
cloying melodies,
such
few
kind
a
like
composer
it in
instrument,
in
Chopin,
Poor
many
the
discontent
his
over
of which
of
register
tenor
from
more
by singing
and,
retiring personal nature;
of
melancholy.
springs
however,
105
34
reflex
the
and
depression,
sorrows,
melody,
toned
Minor, Op.
a
probably
mode,
minor
country's This
Valse
"
a
Chopin.
as
if
playful The
Well-known
io6
of
contours
dehghtful
"somewhat
The
minor
the
here
reminiscent; can
the
one
with
then
reluctantly
hand
in C
melody
same
it slides
up
desponding
opening
two
Sharp Minor,
to
deftly
by
tion, addi-
important
violoncellist
being pushed
is
fingering.
same
very
good
when
cantabile
this
descending
the
to
a
C
critic, is "full
major
the
'cello, The
slurring.
note
is
a
particularly,
bridge,
Valse
will
of
tone
the
A
are
the
suggests
violin
following You
ornaments
Chopin
"dolce,"
the
see
theme
the
mode,
marked
coda, and
E,
the
peevish."
in
is set
added
well-known
a
and
longing";
Solos
the
opening from
section, says
major of
and, if the
;
with
melody
surely drawn
is
this
this
Piano
is
again
the
high
toward
up
rather
octaves, theme.
2
No.
Op. 64,
CHOPIN
Surely, of every A
"well-known
of
of three
all
I would
spent
point
sections,
for
its
It
avowedly
faulty fingering, iDut new
work,
refrain
from
it is wise
cast
and
to
retrace
may other
make
to
referring
patience
one's
experienced
the
to
the
a
haste
separate
;
be
as
useful.
which
will
thousandfold. correct
that, with
slowly. hand
and,
piece, care
steps and find
whole
brilliant.
difficult
you
repay
delight
collection.
yet it is very
advice
early stage,
our
over
it is very
sonic
development, hard
in
that, like every
out
it in the
over
wait is
short
is
; and
seductive
valse, the
place
a
languor
players play it,
young
Here
Polish
is very
which
Made
find
recitalist, must
melancholy
valse
solos," this
any
I cannot
study.
Each
Chopin time
take
we
Valse
"
in his valuable
indispensable. The
fingering
all others
to
for
When
measure.
insures
four
phrases.
little
the
at
and
beginning
w4th
the
second
to
two
parts, the
get
a
treble
will
you
be
as
of each
lasts
four
ferred prethird
life.
look
us
His these
at
the
"
thumb
in the
notes
This
intervening.
melody,
and, if you
melodic
and in
be
the
for
alto, allows
think
alto
the
this
on
to at
Let
great
valse!
fingered alike
exception
an
this
passage
it
twice
in the
that
excellence
par
jerky
is
end
finger
legato
you
is
repetition.
Each
how
see
to
learned
clean
107
foot-notes, insists
the
once
treatment
we
it then
Apply
following
Sharp Minor
Studies
Cramer's
up
teacher, Biilow, as
in C
playing
it
tenuto
line
of the
tion, repeti-
as
cleanly and
efifectively. Note
that
final
violinist
a
At at
slurred,
be
as
The
quarter.
must
pin
the
measures
the
editors
some
phrased,
or
them.
niosso,
the
waving it
The
smiling again. of the
fingers
only
overcome
leave
this
bass
of the
by
This
the
by the
tied
in
the note
(you
octave
which
listener.
only
piu lento,
5,
the
of
Chopin
a
6, will be As
a
of
employs
in
a
where
rule, Chopin
the
for
a
ous grieva
rest
instantly employs
tone.
young with
be we
in vain
detected
of
traction con-
Before
chord
at
can
players,
young
bugbear
and
octave
an
look
may
get weight
to
out
comes
patience.
addition
measures
experienced
bass In
as
difficult
extension
striking
just
twos,
difficulty,which
is, among
fault, and, like the is marked,
of
accompaniment
and
rapid
painstaking
section, beware
single octave).
under
the
cause
in
is most
passage
dips
each
over
eighth-notes
throughout
bow
8, where
a
consecutive
following
would
7,
top
put
players such
is the
charming
Well-known
io8
effect. that
Here
need
the
this
yet gradated
tone,
so
the
with
and
should
chord will
pedal
section,
major
out
unclean
no
seventh
cadenza,
of
fault,
a
that
so
diminished
the
sing
must
detect
only safeguard.
nicety,
a
the
melody
dolce,
round,
Where
The
welcome. marked
to
just before
extended,
is the
playing
arise.
Solos
instantly
can
is marked
pedal
effect
we
hand
separate
The
is
again
Piano
though
with
zest, stand
be
full,
a
from
aloof
accompaniment.
Valse
in
Flat, Op. 64, No.
D
1
CHOPIN This
little gem
and
yet is is
last
long,
hear
how
with
such
us
hard
so
for
is, indeed,
slowly
and
from
rubato is
that
careful
It is almost
persistent effort, until
Let not
use
it may
be
what a
the
glamor
a
tone,
Melba
so
ant pleas-
a
rarely
gift as
curious
rectness cor-
But
present.
arc
it
make
studied
musical
we
is attained
a
and
disappear a
not
We
is to
Yet
only
does
plays
it.
pedaling
much
as
of note
correctness
beautiful
difficulties
solo,
Valse.
result
the
is that
is, unfortunately,
tone
And
and
certainly
Paderewski
and
if
piano
Minute
attempting
forthcoming,
of note,
private.
the when
music
Chopin's
rendering
It
polish,
shrink of
well.
sound
consummate
feature
play
well-known
it is nick-named
it should
almost
good
to
a
hear
in
voice.
only by self-denying, is almost
worn
off the
creation. us
take the
the
fourth
right finger
hand at
first.
all until
Klindworth measure
g, the
docs
first
Valse
Chopin"
which,
of
note
phrase,
advantage used
to
after
finger
will prevent
this
The
tripletsin
full value three
Nor
parts. of
application
key will need commend
first note
avoid
the
eye
is curious
to
hesitates
and
on
on
watch
with
A,
on
practice
five, six, and
three
passage
black
keys.
occurs,
the
note
note
with
we
and
5 to
players
young
effect
this each
where
should which
seven;
the
end
of
the
notes
notice valse
the
measure
It
When
directs
also
of
goes.
lay
not
double
the
pretty
first three
the
this
will
size is able
their behavior.
lastly At
24,
black
of 24
Play
see
brain
the
At
the
before
measures
narrowly
spoils a
the
Ed.)
"
natural.
A
break
on
note
key, which
fingers,and
the
finger, but
the
then
altered
last
black
will
you
into
practicing,it
after
of average
four
of
evenly to
thumb
hand
badly.
do
51)
chromatically
the
very
eighth-notes.
the
on
their
of
and,
Also,
given
be
allowed
the
up
stale.
be
of ;
4 a
25,
on
cadence
the
(measure
with
of
always
In
(With
thumb
the
almost
bar
approval
your
itself.
the
on
succession
slow."
must
23
play
to
polishing it
of
divided
beat
they
must
the
modem
the
the
able
are
you way
and
2 1
with
of time,
smoothness 25
measures
the
only by slow,
becoming
touch
the
its
type and
it "dead
study
is to
with
10,
in small
to
Farmer
John
as
overcome
only
the
years,
pristinepurity
its
to
is
hand
the
measure
quickly
However
in after
valse
thumb),
first
the
to
wrist, "showing
the
at
109
i
where
11,
dainty arm,"
a
difficulty
the
patient study. this
in
as
No.
belong
figure (I prefer the setting
intricate
fifth
on
The
say.
should
way,
another,
bangle
a
Flat, Op. 64,
gracefully from
raised
be
the
by
begin
not
should
in D
the
it.
one
blame
ning Begin-
repeatedly, there this
are same
difference, that, beginning
an
Well-known
no
it
higher,
octave
in
natural, and
hurry
be
The
pretty.
of the
position The which
it is
notes
is fond.
good
a
almost
may
On
change
from of
the
dolcissimo trill and
also
Let
now
first two
will
The
measures
it is caused
by
to
is
It
same.
a
curious
but, whichever that
account
The
finger young which
is
is
in
should
hand
mistake
neglected,
the for
the
if
the
See
that
the
value.
only
E
same;
flat. a
is not
whose
they A
on
are
flat,
fifth
the
remaining said
fourth
be
must
the
nothing be
might
fingering
and
doubt
half-note
of
nized; recog-
used;
taken
into
difficulty is simultaneous.
At
and
always
have
it, there
of 33
players, always remain
The
here.
right
on
and
the
finger
editors
that
measures
be
may
left hand,
chord
the
note,
do
frequent
most
correct
the
one
At
shifting
sudden
you
way
10
9,
the
bass
new
fingering
the
time
the
not.
difficulty of
finger on about
do
the
fourth
the
Keep
for
full time
enough,
easy
You
tone.
pedal.
to
aloud.
finger;
their
the
quarter-
notes,
the
as
efifect of
an
of four
out
attention
are
lightly.
keys.
second
given
are
our
black
grace
soft
the
use
turn
thousands
the
the
to
whirl
notice
them
fore, be-
just
if you
note,
count
after
said
sound
measure
slightly help
may the
tied
account
as
accompaniment
thumb
measures
touched which
the
three
a
the
half-notes
you
and
discipline to
the
this
us
At
ignore
being.
doing
of two
play
to
begins with
ile
Chopin
is easy
scale
A
same
no
and
quite slowly
groups
Cantab
On
because,
mishap,
studied
the
to
before.
as
court
D-flat
Solos
triplets down
measures
thereby
it may
in
runs
two
Piano
122,
29,
30
about
further, on
A
that
where
the
there
seems,
those the
natural
have
we
left
top hand
should
to
third with notes
slur sound
Valse
Chopin
until the
the
the
the
to
flat.
B
third
of
the
Flat,
D
the
chord.
is
forearmed."
not
will
you
and
measure,
and
keyboard, At
64,
65
is
Op.
is
should
measure
on
there
43
chord
following
chord
each
At
this
preceding
with
in
"
C
no
be
iii
i
because
present,
whereas
in
Practice
one.
observe
similar
No.
doubled,
find
which
a
64,
pitfall,
of
"shape"
the
notes
49
are
common
but
warned "fore-
Deux
Arabesques,
No.
1
DEBUSSY
HESE
arabesques
two
my
neighbor
for
a
play, before
year
captivated heard an
early work),
and
read
to
at
rather
Being
efifort where
to
unprepared instance,
they
it
become
is
which
Debussy's shall
The sentimental
first
we
first
hearing
quite
dainty
lines
in,
of
find
them?
that
being
a
will
pure
style,
for
I'eaii, and
assimilation.
both
they but
have contain
nothing
form
the
like
bulk
of,
ancies, discrep-
these
note
arrive.
they
favorite,
erous gen-
arabesques
which
when
is the
great
studying,
before the
but
dissonances
Reflets de
passages,
We
the
make
to
been
his
that
rather
works.
second
have
digestion
or
of
impressionist
I
will
satisfied,
cacophonous
perplexing
arabesque ; the
has
is
two
music
modem
surprising
call
who
(this
these
loath
with"
up
slow
abound other
the
You
slightly
at
last
at
one
perhaps,
somewhat
four
not
take
classical
unresolved.
popular. and
those
"put
much
require
have
no
forbidding
and,
glorious
accept
first
the
interesting.
Debussy
to
quaintance, ac-
arms.
been
and
However,
new
the
must
one
is
conservative
have
I
composers,
later
hesitate
open
with
sated,
the
often
sight,
with
arabesques
not
which
Let
wall,
closer
they
me.
heard
the
made
most
maidens,
coy
I
through I
are
Like
which
being joy
of
rather life
more
expressed
Debussy" rhythm,
in dance
To
begin,
also
the
At
across
with
Practice At
better these
attention;
throughout
The
these
slurring oi is
2
the
learn
must
against tripletshas melodic
place;
note,
not
the
the
second
A, with
later, mark 8
reverse, a
third
the
or
tempo,
for, you
old
the on
note,
4;
i,
the
3;
i"
third.
The
Measure
4
particular,"which
"own
finger and
middle
6, must
feel that
the
to
important.
of
problem
being equal, and
twos
to
5, 2; 3,
2,
discussed
been
tripletsat
quite unintelligible. Please
is all
The
down
is debatable.
group
made
hearer
is
mand de-
next
emphasized;
changing
Debussy's
like.
to
in
A
on
pedal
the
measure
5, 2, 4;
melody of
one
5, 2;
half-note
the
on
the
the
becomes
passage
fingering: 4,
thumb
At
of
note
this is felt and
feel it, the
page
beginning
sharp.
is attained.
thumb
each
for
or
bass
the
G
on
ease
keep
half-
jumps
stringendo
at
you
measures
middle
the
unless
copy
whether
the
again
possible,but
same
hand
finger
until
well
chords
subject proper,
have
fourth
the
extended
Then
sharp.
chords
two
The
easiest.
have
fingerings are
three
12,
C
the
on
left
first
the
where
laid
be
mentary frag-
coherent,
5
4
uncomfortable
finger on
be
must
page
broken, un-
The
measure
should
stress
rather
fifth
7 would
at
and
5 the
note.
(see
tied
be
At
tion. sec-
measure
measure.
stems
half-notes.
must
absent)
is
note
upturned
113
i
middle
each
over
each
in
No.
similar
a
slur
twice
with
bass
quarter-note
have
the
out
pedal
melody as
both
but
carry
with
Arabesques,
Deux
cart
dividing Insist
the
triplet fall
would 2,
page add
you
often. let
";
B, with
draw mark
also, two second
the the
on
twos
on
the into
horse.
middle
measures
finger and
Well-known
114
Here
accent.
hand,
left
whole
pedal
have
the
the
is all
here
the
of
which
but
you
Be
must
the
sure
second
in the
B
of
some
quite
are
1
of
the
4,
lets tripget The
reverse.
foot
retains
of the
measure
:
the
to
try
your
5
i, 2,
rigid holding
page
sound;
measure
right hand,
the
important.
dominant
low
foot
those
to
in the
excuse
familiar
a
accustomed
pedal
must
At
notes.
and
1,2;
for
fingering
complete
5, i, 5, 3, 2,
; the
I
2,
3,
is the
Solos
Piano
bottom
brace. At be
rubato
tempo
squeezed
third
Those
purer
the
pedal
measure
has
first nocturne
of
wooden
fourth
finger.
thumb,
and
this
the
most
be
effect
begin
each
in
the
the
by
of touch.
with
case
at
generous.
in the
procedure,
half-note
if
But
played
same
that
mosso
the
on
carry
At
is
may
must
fingers; and, pedal.
unusual
in
Chopin,
of
effect
getting
endorsed
part-writing
without
eighth-notes
finger, 5, thereby
Klindworth
vocal
changing
it sounds
tenuto-lined
same
the
together by
cleverly done, the
beautiful
the
the
more
with
group bass
the
to
quarter-note. risoluto, page
At
being
string
a
chanting the
is used
and
place
On
page
where
the
the
bass
on
the
must
left
and
the
the
note
comes
fourth,
Each not
each
chord
the
following each
that
long
half-
passage,
lower
with here
is
the a
-note.
fifth
first
third, finger should half
note
difficult, the
more
sustained
be
See
sequential is
the
to
G.
the
on
for
gives
the
to
firmly
what
and,
also
hand.
least
a
down
hold
this
character.
finger
3,
part;
at
or
second
must
hand
half-notes of
each,
measure
thumb
right
finger
used
5,
ecclesiastic
for the
and
chords;
World
is remarkable
harmony
common
Old
an
pedal
notes,
in
of
the
4,
version; inbe
Debussy On
the
broken
chords,
quite
passage
of the
brace
last
Arabesques,
Deux
"
for
page,
use
115
2
right hand,
the
cending as-
makes
5, 2, which
i,
4,
No.
the
easy.
Arabesques,
Deux
No.
2
DEBUSSY
These
its own!
begins
measure
notes
the
a
each
The beat
with
middle of
of
seventh
dry
if you effect
use
the
C
in
page
7, measure
is
the
left
curious
a
the
ness; squareAnother
bass.
triplets;
tied.
F, G,
A"
the
on
(F).
The
only
and
all
in the
minds re-
Make to
find
together
in
this
that
see
(G) chords
hand, scale
8),
page
unusual
dominant
in each
last
the
Isolde.
this;
ascending
finger
on
How
passage,
down
(beginning
brace,
Tristan
theme
new
available
first page
right hand
next
major
from
E,
third
this
up
the
that
see
triplets;for
breaks
third
measure,
a
thumb
way,
contains
4
Each
page.
the
on
4
and
finger, 3.
same
the
studied,
lower
on
of
in
well
the
By
sharp
for
notes"
held
are
dominant
a
of
Quite
measure.
F
theme
a
adjacent
thumbs
C.
difficulty all
triplet 3
alternate
Measure
on
section,
first note
easy
the
third
the one
four
the
first note
is advisable
fingering
each
of
pleasantly 2
be
fingering
5-
which
this, place
in
begin
5, 4,
4,
to
eighth-notes
each
for
2,
4,
2,
effect
halting
the
of three
group
chords:
hand
and
E,
on
a
in, all down
copy
triplet. Exceptional
is: 4,
2,
first note
the
bear
need
measures
alphabetically,A, B,
are
last
not
four
which
alternately,
introduction
an
Finger
follows:
as
does
often
How
of
C
and are
thus
both the
quite getting
major.
Well-known
ii6
the
When
triplets
first
charming
The
coda
to
of the
measure
other See
you.
chords
that
the
at
both
with
10,
in the
the
in the
out
rit. will
the
sevenths
two
implies
page
given
under
is still
stretch.
a
of
theme
giving
subject
often
bottom
middle
curious
the
four
,
measure,
mosso
measures
the
at
9) the
page
each
armonioso
here, four
begins
(on
in
meno
The
Solos
returns two
At
reduced.
pedals down;
Two
to
variety.
further
first
subject
reduced
are
Piano
be
bass
bass.
strange
quite
are
steadfast.
Plus
La
Lente
que
Valse
"
DEBUSSY This
beautiful well
who the
will
time
known
to
and
welcome.
taste
fifths
music,
and
the
its novel
the
could
which
have
which,
from
harmonies to
of
ill tolerate
the
the
been
observ'cd
its even
ative conserv-
breach
of
and in
fall
childhood,
its many
and
very
of discords
take
tomato,
acceptable
experience
those
on
and
unpalatable
become
resolution
proper
only
themselves
like the
come be-
undoubtedly
it grows
accustom
may
was
writer, who to
to
Perhaps,
Such
time,
pianists ; but
trouble
unfamiliar
relating
will, in
resolutely explore
eccentricities. very
waltz
rules
tive consecu-
all
classical
naturally
on
the
ear.
This with
of
example which
piece by
I
most
am
Debussy
give similar
the
"one's
familiar; some
may
satisfaction.
speaking,
ultra-modem
nose
day Here
school but
jxThaps
attract
and
is the
gets pulled"
;
another
attention
there,
one
and
ally metaphoric-
but, if only for
a
Dubussy measure
gets
one
or
two,
to
like
and
Debussy, have
this
hearing window, and
there
I
After
down
feel
that,
hidebound
to
infringement
let him
give
an
unremitting
printed
pains
technical
considerable
observed. the
quickly should
touch
third
note
to
the
next
of
the
weaker
the
with
first
mf C
held
be
a
which,
measures
in
played
ordinary
mark
over
onward
independence
firm
by
which
indications
carried
little
is the
naive
how
the
bad
in
snap
timist, and
quarter-notes
quietly adjusted.
the
the
at
be
bass
requires
fully faith-
be
tenuto
be
must
Many
note
careful
the
see
"
the
students
some
the
take
piece and
notes
reiterated
also
How
fingers.
better
afterward At
this
to
a
which
melody and
tone;
alternate
would
of
tied
many
Note abound
which
waltz,
discussed.
be
must
detect
can
get the
to
ordinary
no
surprising
tied.
been
have
of varied the
master
slightest
what
if the
is
It
the
loyally exactly is
detail
avoided
be
pitfallsmay
bear
I come be-
have
we
and
This
denotes.
page
come be-
Indeed,
novelties
its many
play
to
had
say,
reader
the
to
ear
open
of rule.
induces
open
cannot
and
melody
passages
might
and
custom
notice
the
unobtrusive.
Debussy
as
time
its refined
"rocky"
in
which
interval,
played, through
were
disregard
or
if this
But,
and
say,
happens
rhythm
weeks'
few
a
the
rhythm"
softened to
in the
quite captivated by
was
to
require considerable
music
of
117
strange
always
turns
which
and
piece
charming
began
unexpected
Valse
"
and,
borne;
quaint
are
assimilated.
be
to
The
it.
Lente
que
be
it may
precedent
no
Plus
La
"
you
measure
must
we
get
have
for two
or
even
Debussy
acclimatized
flat, its first appearance. down
a
to
Here
three
measures,
the
but
chord; the
measure
pedal to
may
give
the
Well-known
ii8
necessary
bass
half-notes
lead
The
on
to
we
with
descends
by
/
the
chords
before
as
afforded
measure
be
E
on
the
sharp,
upward
Also
keep
chord;
At
the the
2.
The
be
read
sharp;
in
the
the
pedal
to
chord as
then
it is
4,
later,
on
1,5,
1,4;
that
uncouth
dominant
quite
easy.
3, 4,
may
viz.,
then
3,
fingering beneath
for the
to
it will be
get
wxist.
helpful of each
note
unusual;
but
quickly
passage bass at on
the
at
passage?)
the
excuse
decipher, seventh
the
E, E sharp, F sharp.
flats, begin each to
find
flexible
a
; and
on
thus
thumbs
necessary
uppermost
most
composer
2,
the
2's
the
the
eighth-notes
cedez
the
strike
insert:
At
needs
ceeding suc-
assistance
four
last
melody
are
difficult the
the
if
hands the
at
we
please
twist
consecutive
of the
return
which
watching
get the
bar
The
4.
finger
harmonies
double
4.
be 3,
second
(does
animd
by
in
bass
useful
the
not
pencil
measures
parts need
viz., three the
Here
use
the
two
"
1,5,
leap
inner
the
4
do
4
page
the
also
Real
score,
should
4,
the
on
that
and
please and
warning
especially
page
the
on
thoroughly
Cross
measure.
followed
notes
encore,
the
3,
4,
melody
word
to
3,
is
but
fingering,
second
be
must
noting
the
At bass
by
one,
must 5
in each
p
serrant,
en
mentioned.
little snap be
at
the
memory.
arpeggio;
eighth-note
At
which
down
hand, old
keys.
to
lower
each the
hands,
degrees,
eighth-note
Disregard
which
committed
brilliant tied
black
dotted
tied
descending
thumb,
measures
four
the
text.
the
the
separate
be
piece
be
on
three
to
for
measure.
thumbs
put
studied
at
will
3
Solos
Curiously,
in the
fingering
of each
come
the
nowhere
page
first note not
stability.
easiest
passage
Piano
measure
over.
with
plus Icnte, may D
with
an
F
Pizzicati
(Sylvia)
DELIBES
S
sweetmeat
a
little
dainty
exception is
It
the
piano
Tchaikovski music
Pizzicati
is
in
editions
some
makes
a
study
snatching
the
pizzicato (plucking be
borne
The
in
ushers
thumb
the
It
is
should
be
pedal
for
trio.
used.
is
This
finger-tips,
fingers),
adapted
of I like some
measures.
119
in
nervous
this
each
to
for
measure
taste
it without, use
with
B-flat,
on
lo,
personal
might
and
keeping
in
and
by must
piano.
pedal
quite
a
is
secured
is
the
touch
in
is it
stiffly
effect
on
and,
C;
Technically,
the
the
best
Still,
it
somewhat
played
dance,
and
diminutive,
hand
with
question
a
pedal
the
it is
fingering
F, E-flat,
on
D.
as
in
The
follows.
with
them
This
staccato.
this
introduction,
Uttle
which
and
mind
with
strings
the
On
manner.
notes
the
ored enam-
wonder.
scherzettino.
finger
holding
by
out
for
tinguished dis-
grace.
much
no
being
is
and
very
and
and,
form,
labelled
good
gained
best
scherzo
in
French
always
was
an
selected.
from
lightness
D^ibes,
of
quite
pieces
which
by
the
is
arrangement music
D^libes'
take
which
dance,
to
an
ballet
with
will
we
and it
on
chord, what 8
is
A-flat,
whether
the
reser\^e
the
the
gio arpeg-
Well-known
I20
The
double "Do
players. in
runs
the
The the
and
is
Strive
should
flat, the
bass be
must
nearly
in
of
care
Certain
at
at
the
staccato
cadenza, the
to
in others
F
"
The
a
for
memory
extent),
some
the
ing descend-
three
the
A-
are
then
sharps;
memory.
noticed
G
This
line
melody
is
melody
(and
it may
you
at
20,
At
some
from
Editor.)
then
The
subject.
measures
In
and
you
and
be
left
so
to
again
24
trio
music
the
A-flat
by
is very
being repeated editions measures.
all numbers
the In of
attention:
the
back,
again of
two
to
measures
the
latter
nature, sigof
ber, remem-
higher.
octave
introduction the
goes,
measures
easy an
tonic.
the
to
G
into
you
demands
next
For
along.
go
takes
back
cancelling
minor,
the
as
appears
leads
and
only four,
deducted
text.
"
in
progression.
sequentially.
eight
(Note.
chords
the
"
chord
be
must
A-flat
sharping into
to
from
play
to
Note
have to
piece
little
major,
to
paniment. accom-
changed
key.
the
octave.
light
be
must
45
pedal,
legato.
A
subject, elongated
by
in
the
with
sing here,
the
F-sharp
13,
15,
it is treated
mind
itself.
points
instance, minor;
for
this
has
everyone
fifth
fifth
introduction
if you
that,
with
fingered with
"committed"
"tuney"
be
of
notes
final
caught
note
the
seventh
two
the
is
subdominant;
dominant
of
is best
pleasant
a
Notice
memory.
The
be
the
which
keep
to
young
otherwise
thinking
37,
melody
first
finger,
This
take
C
the
The another
at
and
make
to
time,"
a
while
theme,
thumb
at
pitfall for
a
"bungled."
quarter-note
the
is rather
23
and,
scale
middle
at
thing
one
advance,
chords,
on
ending
Solos
Piano
six,
has case
given
2
must
in
the
Valse,
First
83
Op.
DURAND
HIS
music
composer's fills
pianist's
repertoire; Chopin
for
way
place
vacant
a
like
almost
Like
it forms
and
hands;
B-flat
First
in
C
the
until
the
three
voices
the
learn
and
fingering
for
chords,
is
note
the
note
three
the
for
first
dotted
B-flat half
large I
valse, C
the and
5
with
and
the
D
the
make
bar,
-notes
the down
gliding is
20
is
3,
chords
little
that
In
of
"know"
you
without
is
each
of
top
When
lower
without
pedal,
the
double the
but
well.
as
conquered. the
second
the
namely, measure
its
This
the
play
passages
stationary,
one
please
just
and
before
measures,
in
sounds
introduction
divide,
chord
three
not
all
threshold.
any
respectively.
D
is
it
difficulty
full
hand,
passage,
airy,
played
of
too
each
three
can.
and
shortening
of the
the
other
no
a
the
mostly,
This
and
then
them,
of
9.
practice
B-flat,
G,
middle
has at
are
paves
Paderewski
people,
notes
intervening
the
of
young
as
the
in B-flat
and
They
thumb
the
erase
this
judicious
a
chords.
third
and
by
it
young
encore.
stumbling-block
a
evaded
be
may
an
as
the
Chopin,
that
introductions,
many
own;
valse
little
charming
in
thin
diluted
surprising this
as
extremely
Although
welcomely
most
two to
The
tied. i,
link
2;
and.
in
the
B-flat
on
and
the
beautiful
subject
We
teach
sometimes
instead
gives
of
you
will
the
rhythm
the
the
hear
eighth
usual
valse
accent
much
measure
in the
measure
If
and
time
much
carefully
notice
Also
until
here
of each
of these
at
should
beat
37,
misleading.
you
save
impatience. second
the
on
at
is
rest
the
expect
we
four
indeed,
;
accompaniment
it will
is correct,
mistakes
So,
time,
more
A-flat, Op. 42.
when
shock.
a
wrong
The
the
play
struck
this
(four
still
the
to
in
certain
expect
of
notes
top
Valse
Chopin
quite
us
three.
teacher
your
the
finger
charm
applies
same
right note,
invariably
we
of
equidistant
The
almost
the one,
wrong
the
The
A-flat.
on
second
the
valse, keep
thumb
apart).
eighth-notes
who
the
from
arises
subject
of
figure
wavy
Solos
Piano
Well-known
122
first four
measures.
The
new
played, the
fifth
the
in
duet
thirds,
lower
At
which
at
127,
firmly but
the
is very
The
light, with
very
coloring
adhered
will
notice
you
becoming times
out
easily The
F-flat of ten,
All of
use
when
1-2
on
the
C
to
3-1,
118,
use
the
two
goes
to
the
tave oc-
are
plain
who
play
points people
F
in
Just
to.
minor,
at
133,
wrist, and before
enharmonic
(same the
quietly
finger, keeping
these
free, loose
the
measure,
124
young
subject a
be
to
see,
it
as
indeed.
small
detached
At
second
your
down.
percentage
written
staccato
tied; and,
are
shift
tied
the
115,
116, fingered 4-2,
at
times.
three
finger
notes
C-flat,
so
in
smoothness.
gain
A-flat,
subject,
the
the duet
change,
key)
; this
inevitable
should
the
E
again natural
get, nine
we
which
"stumble,"
of
markings enters
is where
be
can
be
averted.
slurred
subject,
at
237,
in
the
coda
requires
a
Humoreske,
Dvorak"
special fingering, always scales
play
the
odd
quarter-note the
black
key!
fifth
finger
on
F
and
E-flat. other
finish
For
distinctly
the
but
again
with
the
In
the
the
second
scale
Humoreske,
black
key no
is
It
study. whole
101, No.
Op.
finger
I know
in the
difficult passage
most
of
group
the
chords
in
top
later; and
follows.
on
slur
the
at
measure
thumb
the
on
pencil it,
a
keep
not
the
slur
patient, piecemeal
a
it
draw
the
the
Do
brillante,
C, and
one,
ascending
Pencil
placing
to
same,
brace
than
course
thumb.
begin
fingering
the
hand
on
Then
finger;
last
notes,
figure.
marked
thumb
the
scale
this
right
123
7
special study,
a
as
objection
B-flat.
ordinary
seven
the
on
measure
G,
on
fourth
the
the
for
the
At
the
to
with
down
No.
loi,
and,
2;
3,
old-fashioned
mind
down
and
up
Op.
valse.
7
DVORAK There which
is
might
inspired by music
is to
music,
well
hearing came
any
after
the
may
have you
the
restraint
interpret to
play
Bohemian
has
the
was
a
this
such
violin
a
of
freedom
such
from
a
They manner,
esque.
One
in
a
first
they
it
like
placed
ber remem-
studying
Humor
piece
I
revelation. In
such
similar
any
when
their
alike.
twice
play
borne
phrasing or
Band
piece,"
evidently
is
possible.
if
and
ago,
necessary,
scarcely expect who
native
a
years
to
never
of
way
Hungarian
Blue
when
best
It
Ungarische Tanze,
played, by
restraint,
you
The
the
hear
Caprice.
called
be
violin.
the
some
over,
seemed
well
as
in this
particularly humorous
nothing
meal, piececan
Hungarian
his
hands
or
from
Well-known
124
infancy.
Still, "this
be
the
a
within
be
to
are
absence
by
of
bowed
effect of
end
each
for
short; bear
its
delay
this
The
the
little
music,
fingering
time
to
left
hand
the
than
change
the
as
"double
a
the
smooth
left hand
third
At
16
of clean Another
we
the
and
is,
that
not
gest sug-
ascending
and
at
fiddler.
When
measure
on
violin
improved. have
ample
Keep
all the
will
This
charming
Dvorak's
early
it breaks must
9, you tone.
At
1 1
into
out
strive
roundings sur-
to
place
tate imithe
D.
progression,
unexpected music.
surprise
be
sweet.
of
The
attention.
you
influence
Bohemian
of
half-note.
the
on
the
Keep
nicely gradated piquant
each
may
3
thumb
simple
finger an
if
and,
does
me
the
measure
gliding
find
not
gentle sprightli-
begin
attract
finger
rustic
Dvorak's
and
and
the
stopping"
will
note,
characteristic
so
of
very
reflects
melody
in
finger. note,
other
two
this
passage
a
before
the
of
detached;
give
would
I
end
work
will
this
sixteenth-notes
thirty-second
fingering
glitter
at
G,
done
at
group show
the
the
be
fmger
may
of
note,
which
second
must
any
each
grace
you
the
making
the
little
cutting
first
the
treatment.
with
and
character
gentle
printed
raise
while
is to
of
way
as
beneath
bow,
note
each
roughly
entrance,
The
ness.
Use
of
shorten
anything,
slur
slurred,
Make
it.
here
be
the
is to
music,
notes
the
every
best
piano But
Beware
pencil.
The
the
of
that
slur.
should
notes
indicates
the
on
all
draw
one
stroke.
separate
a
that
means
violin
In
should
piece"
popular
thousands.
with
slur
a
of
sign
played
Solos
immensely
reach
slur
rule, the
Piano
both
awaits
us
so
istic character-
four-part
writing
and
speed.
in
tone
in
measure
23,
where
Op.
Humoreske,
Dvorak "
the Before
in
played,
middle
The
both
legato,
call
of
sedately.
of
tonic
the
in
which
embelHshments
such
music of
will
of
the
melody
the
became
eventually composers
now
two
Gypsy the
time
they
and
feature,
important
most
this
From
intact.
remained
have
we
old at
the
that
only
provided
performer,
acteristic char-
apologetically
be
the
permitted
were
36
not In
we
equally
and
34
also
what
have
we
taken
be
and
however,
out.
must
may
26
be
to
not
staccato
must
right
brought
but
played,
At
music.
Slavic
embellishments,
more
is,
which
snap,
delightful.
theme
minor
At
25.
125
7
you
whole
half
the
present
Scotch
the
almost
Interpret
faster.
rather the
part
beg
the
indeed,
4;
is
it
as
would
I
section
measure
leisurely
unexpected
as
this
leave
we
impatient be
is
double-flat
B
No.
loi,
a
write
them
tenor
to
down. In
brought out, time
melody
it,
over
with
good comes
pause
of
back
with
37
the
again.
the
pedal
the
Take
may last
down,
be
played
bravely
be
must
warmth.
weight
its
beware
measure
a
great
that
so
at
passage
and
showily
in
"imitation"
is
there
The
out.
pause After
36
measure
of
plenty
be
felt.
left
hand the
In
the
chord.
naive
first
Salut
d'Amour,
Op.
12
ELGAR
T
is
said
English
the but
melody,
love
with breathes
No
wonder
easily
it
is
familiar
to
our
E
pianist. heart, read
I
may
Modem is
time
it
has
help
printed saving this
The down
much
first until
will,
it
trust,
asked
to
it. it
in
useful
the
hand.
wisely
but
experts;
But
accept
the some
is:
note
of
the
next
measure
I
tured cul-
demands
obviates
pencil
out,
a
grateful
are
of
experience it
of
inal orig-
advantages;
many
that
the
a
necessity
has
the
it
majority
The at
gives
thinking
Here
legato.
fingering
you
more
becoming
say,
from
it
finish.
been it
to
If
notes,
disadvantage,
inexperienced advice.
fingering
has
experience
it?
play
to
it
English
perfect
it
much
so
but
an
ensure
the
pared com-
distinguish
its
Truth
said
you
and
of
procedure
should
demands
Having
is that
people.
major
copious
some
which
young
in
setting
F,
in
arranged
and
be
of to
others
tion. excep-
Henselt's;
seems
all
popular
so
of
an
can
perfume
What
above
is
song
one
the
rose.
here
surely
This
lack
composers
thumb
the
melody is
3;
melody
so
strong
therefore za6
be
must
to
note, that use
held
acquire
it asserts
it
quite
carefully a
itself
gently.
pure too
Elgar Begin last
note
that
the
must
be
measure
of
the
middle
the
following
127
and
finger ;
have
B-flat.
The
loudest.
At
the
6,
first note
see
of 5
the
of 4, 8, and
like
the
third.
last
of
note
be
At
sustained.
well
careful
very
to
let
20
each
each
Study
the
play
14-15
16
at
ure Meas-
12.
Be
12.
and
smoothly;
parts
part
end
voice
here.
The
The
and
third
the
the
the
double
and
bar
A-flat
by
secure
and the
a
works
large, loud, should
be
up and
quite
a
the
broad,
effect
very
four
careful
bar.
the
by
gencies. exi-
the
quence. se-
dissonance.
At
largamente,
which
length.
quarter-notes
At
repeated, ando 62, acceler-
cannot
the
to
cult, diffi-
with
by
well.
slow
proached ap-
are
excused
play
its
was
held
times
in
dominant
28
to
be
pleasant
culminating
and
handling
is excused
for
panied. accom-
double
four
to
dence. ca-
is developed
which
little
being
begins,
noticeable
softly played, with
the
on
25
must
dissonance
passage
to
Measures note
sequence
difficult
melody)
the
require
unclean
occurs
34
two-measure
is
bass
the
24
At
which
melody.
partially At
a
will
deep
loosely
(flatted mediant), at
perfect
a
quarter-note
a
refreshing key,
a
measures
the
of
of the
measure
ing; end-
marked.
as
rhythm
to
and
measures
altered
an
period
softly
resolution
rare
smooth
a
pedal,
in
major
a
four
21,
the
first
reiterated
of
pedal
melody,
pedal exactly
eighths (from
two
first,with
this
brings
is pure
Use
the
four
have
rhythm,
is like
fourth
Here
At
in
similar
phrases,
in each.
54
fourth
12
the
at
treated
of
voice
separate
At
the
is the
slurs
be
slur
alone
Op.
short.
must
the
to
up
B-flat
third
d'Amour,
with
4
reach
to
Compare 7
Salut
"
pause
The
be
too
which rit. is
instead
of
Well-known
128
eighths
before.
as
and
have
Show A
repose.
is attained
piece
it will be
of
for
lento, and
a
in succession. familiar
weak
America,
Edition
in F
the
has
text
later
should
the
the
by piu
obser^^ed
much
being been
be
straint re-
if you
Toward
advantage.
rail.,followed
e
and
fingers ;
rit.,all of which
(The
in
dim.
a
but
here,
legato throughout
octave
the
close, Elgar asks
finally
good
Solos
impatience
no
by sHding
hand
large
a
Piano
the
adapted
most
it.
to
"
Ed.)
Second
Mazurka,
Op. 54
GODARD
Like
typical French
all
characteristics mazurka
A
beat
of
for
the
that
consider in
second
the
has
beat
and
bell
a
fit in
the
third
for
if switched
on
out
curious, freakish measure
picturesque
your
30,
at
what run
is is
it
the
speed
Also
the
feature notes
Therefore
the
nome metro-
ever"^
able
to
rather
mazurka;
out
count
sibly pos-
this, the
"developed" give
third
slowly,
cannot
Besides
of are
nm
course,
your
hearer
happening. a
be
first
of
going
find
F, the
on
If
set
notes
will
you
and,
a
Perhaps
grace
comes
measure.
Begin
its first four
cadenza.
beat
playing.
full
two
chord,
attachment,
aloud.
beat
the
begins
the
the
always
seems
arrangement third
of
pianists.
by
half-note
the
on
time
the
melody
beat
make
f
second
construction
young
aggravated
the
beat
first
the
at
is
national
the
on
Mazurka
of
majority
accent
the
Godard's
the
piquance.
strong
a
thus
in
uncertainty
If you
has
measure;
measure
riddle
chic, and
grace,
often
the
second
the
of
it reflects
music,
your
and, into text
a
Godard
and
clearly is
given
in
out
long
note
into
the
must
be
well.
Mazurka, At
unmistakably. the
middle
all
notes,
strong
Second
"
need
it
fear
not
129
the
melody
piano
vanishes
in
theme
6, 7, 8
5,
stand
may it is not
exaggeration,
good,
"
sjorzando
the
notes
the
54
itself and
spends
that
so
the and
accompanying
softly played,
You
5
specially marked,
The
run.
measure
register of
of all, until
most
Op.
out
possible
here. At
26
measure
with
notes,
firmly by
whirring the
The
the
tied
is
note,
a
effect
at
coming
apparently
timed
it often tends
the
eighth-note. three
count
in
rendering;
space
amply
before
the
strict
the
ceding pre-
start
the
by
out
which
is
carry
a
demands
again
fresh
the
be
a
note
an
perhaps passage
the
good
subject,
melody
not
free, fanciful At
70.
and
finger and
The
very
at
ure, meas-
counts
Then
a
that,
the
one
time.
the
be
must
quarter,
manner.
the
of
the
That
seems
of
with
over
86, let there
beginning
It
beginning
melody
time
with
tenor,
player's balance
adjust
measure
pedaled,
certain.
level-headed to
in the
notes,
last note,
fantasia
but
section,
a
able
Con
marked
this
Play
be
will
you
you
the
easily adjusted.
not
at
the
upsets
shorten
to
of
beginning
54,
made
and
unexpectedly
so
chord
caught
generally helped
measiu-e
little,jerky phrase of three
thoroughly
is
be
must
before
pause
half-
the
pedal.
subject,
new
final
the
make
which
passage, of
use
in 30,
and
them,
over
After
pedal.
phrase,
is doubled
melody
special mark
the the
the
of
breathing
which on
close
to
should, its
ceeding suc-
like
the
eighth-notes. The Polish
big
brass-band
Mazm-ka 9
"
must
effect be
at
1 1
helped
8
"
out
not
by
much the
pedal
; and
Well-known
130
"octave
the
second
subject
C-flat to
subject
B-flat
minor, Then,
in
major,
order
is
second, into
therefore at
so
173,
the
that
long
the
last
by
memory
silent
middle
of
the
then
animato,
named
should
the
mented aug-
164, and of
so
pause,
Wait
also
large, may
keep
be
and
zurka, ma-
ously dubi-
quiet, naive
that
aloud;
the
as
167.
sounded
to
of
value
measure
F,
note
and
chords,
being
the
far
thus,
minor.
which,
157,
as
knows
his
waiting;
The
at
Godard
respect
hearer
run.
F, finally gets
G-sharp,
freedom.
at
;
E-flat
D-flat
first note
E,
to
commit
major,
major,
the
to
changed
with
dallying
is C-fiat A
back
play
you
of
key
rare
would
as
the
134
changes
slowly
minor,
D
that
If you
sequence
get back
to
F-flat
the
bar.
chord
the
143,
At
enharmonic
by
each
hands.
with
begins
double
name
with
beginning
the
Solos
both
to
wanders
at
memory,
refers
returns,
and
major,
the
it to
higher"
Piano
little
committed the
use
to
pedal
to
each.
*Second
Valse, Op. 56 GODARD
If
"Gay
phrases, life when
Paris"
Godard
then he
the
"charm"
idealized
dancing dance
party,
of
eflervesces
for
it must
reflecting
waltz,
is France"
rather
than
are
imbued
was
sparkling
charge
and
ball-room;
the
"Paris
certainly this
wrote
to
open
and
frivolity,yet
be the the
the
what some-
it has
joyous
considered gay
Frencli
with
Though
waltz.
with
significant
able undeni-
spirit
only
atmosphere
an
as
of of
graceful rhythm
of
the
itself.
Godard's
music
may
lack
other
properties,
but
a
mel-
Godard
ody,
never.
clear
and
Here
sparkling
off
with
till you
period
Then
lightness.
for a
turn
in
(measures swell
in
out
the
sure
Do
6-8)
last
give
not
of
Beware
The
it the
on
the
At
22
accent
following
the
on
the
first
lower;
and
at
higher
than
strongly
with
arpeggio
of
From
to
43
diminuendo. as are
their
first melodic
first
slur
way
of
short
of
the
in
with
enters
round
end
appearing
minor) slur
measures
as
if divided
partly
on
a
smoothness.
gliding
octave
an
appears enters
octave
an
motive
vigorous
In
be
there
should
to
45
descending
second
F-sharp
on
brilliant.
very be
should
slur, though between
at
contrasting
the
40
should
the
notes.
jerky, with
chord
41
continuous
three
long phrase, built
a
preceded.
of the
one
printed
G
lightly.
amateurs.
full in tone,
and
be
first bow.
diminished-seventh of
of
phrase their
is done
not
piece
made
Then
most
phrase
flow
must
gradually
scale.
the
long
the
phrase
and
quite softly
next
has
Also, under
The
chromatic
very
the
the
such
to
you
The
they
what
Tone
execute
enable
first.
theme
this
(Leading
the
when
Have
38.
this;
even,
theme
26
second
Master
very
scale,
tions edi-
marked.
be
must
chromatic
The
that
fairylike
and
well
''pop,''in
a
eighth-notes
slight
to
of
note
this
of
part
neatness
it ascends
as
bass
it
Standard
begin
volume
Check
measures.
the
it
melody.
style.
must
than
the
will
finished
a
Bright,
difficult
more
with
to
good fingering only
melody
it
fingering
the
have
much
practice
do
can
continuous,
as
spring.
twenty-one
then
pencil;
a
131
is it trivial.
is
Count
appear.
mountain
a
never
work
left-hand
would
as
yet
forth
bubbles
melody
joyous, exuberant; The
Valse, Op. 56
Second
"
a
gradual be
they
cuted exe-
times some-
slurs, owing
two
and
partly
on
third
the
of
scores
long, sequential
The
opening
Cantando
at
have
the
(D
markings
The
left
coda
begins
melodic
dispels
of its
much
166,
at
The in
of
Surely
for the its
will
The
At
sjorzando and
is twice
of
secret
its
study
the to
answered
learning
its
long
of
repetitions; which
by fixing
of
this
passage
difficulty. The
one
with
modulates
once
elaborate
chromatic in the
successive
mind
tions. undula-
crescendo
in sixths,
arpeggio
memorize
first four
The
wanderings.
the
this
ting culmina-
followed
piece
First
of the bass
of the
repeatedly. last
; it is so
by
beat
of
Theme
is
a
the
a
be
tern pat-
out through-
harmonics Notice
to
easy
(introduction)
measures
accompaniment
measure,
cipal prin-
chords.
C, F, in half-notes,
eighth
its
that
octaves,
at
mastered
is
acciacca-
treble.
the
notes
coda
brilliant
you
The
done.
is to
easily
to
full, round,
phrase
somewhat
lowest
heavy
in
apparent
whole
the
cadence
is
and
highest
bass
154.
development
passage, the
at
and
interesting
very
D,
high
passages
be
III; but
vigorous
and
others.
the
of Theme
notes
will
a
return
with
notes,
"
at
immediately.
88, begins in low
at
This
chord
The
from
76
and
note
flat
move
right-hand
follows
tone
namic dy-
themes,
At
the
its bass
with
each
hand,
minor.
that
care
slurred-staccato
detached
first three
by
of
first two
languor.
E
in
theme,
in octaves,
the
than
the
studied.
third
sing well
octaves)
in
added,
slightly
the
of
Take
phrase
of
pace
exactly
note
G
slower
primo.
sounds
tura
carefully
the
of
this
In
58.
to
49
is true
same
be
should
atmosphere
an
Tempo
at
phrase "
Solos
The
page.
must
72
considerably
the
passage
markings
80
Piano
Well-known
132
is B-flat,
that, bass
is
in each a
rest.
other
No
had
composer
beginning
group
Likewise,
by degrees, and
is
aid
reliable
a
With
from
a
each
time
to
indicated
in
of
lower
dissection
Such
the
is the
text,
is used
once
tone-color,
and
power
charming
this
in
of
secret
taining sus-
waltz.
Chromatique,
Valse
ing descendnote
pedal
the
exceptions, Variety
interest
quence se-
memory.
measure.
elaborately
diatonic
one
complete.
is
first.
the
tones
beginning
two
second
the
a
of four
value
is but
than
begins
133
of the
tones,
50
figure
octave
obvious
few
each
to
till the
scale
of
88
10-12
higher
tone
beat
last
the
on
constructed
in the
chromatic
whole
a
at
passage
descending
six
of
groups
Op.
perception
keener
a
That
rhythm.
in
of pause
Chromatique,
Valse
Godard"
88
Op.
GODARD This needs
attractive
though the
always
not
suggest the
then
four
are
then
two
the
middle groups:
groups
the
note.
finger viz., of two
to
hand
Use
the
the
helpful
long
For must
run,
instance,
be
rational
index-finger
chord
each
measures;
notes.
the
in
widens.
of four
groups
ballroom,
the
learn.
left
when
two
for
easiest
easiest
for
next
few
a
the
is
the
fingering
proper
and
fingering
best
written
not
excepting
comment
no
The
waltz,
on
D,
There
measures
each,
being fingered as
above.
There but
the
are
several
most
usual
waltz
each
ways
of
is the
fingering a chromatic
scale;
third
black
finger
on
each
key. In
the
ascending
measure
must
begin
with
Well-knowTi
134
thumb,
the
begin
the
with it
whenever
fourth
finish
is best
4,
second
this
fingered
being passing-notes
as
ninth
good
a
thirds
feel
the
prevent
and
after
the
penciling
after
each
in the
case
begin
the
little
On
and
task
a
feather the
major
minor, dominant tre
what
is
in the
cap
ascending
scale, with
with
quiet una
an
A
the
with
corda,
should
for
first the
and,
passage,
beans, these
treat
begins and
to
with the
to
few most
part
of
ing descend-
chord
finger, the
trio, is in
phrases.
two-measure
of sixteen
dominant
another
being
in.
part, the
pedal-point
would
to
the
of
you.
finger;
fifth
tice prac-
who
stumbling-block
a
from
heard
you
replace
to
is the
and
pocket
you
passage
thrown
middle
cordc, B, the
So
hand
Have
to
gently
Start
difficult
a
slightest mistake,
afresh?
left
control.
one
of
of
one
difficult
Leschetizky,
from
beans
is
first
at
patiently. of
in
passages
starting notes,
rendering
arpeggio begins
The
and
of
descends
not
are
them
out
and
first
ascending
two
method
until
6
page
get
the
twenty
of the
diatonic
C
in
successful
notes,
becomes
a
of
one
the
to
apt
thoughtfully
change
they
E
the
thirds; and, if you
major
Take
prettily.
is
discipline
of
page
E flat of 30
chromatic
The
accent,
"boggle";
any
offender,
it
and
the
on
and
The ninth
two
one
A
chord.
attention.
second
note,
is with
passage, the
"
minor
The
highest
measure,
2
4,
the
dominant
measure
play lightly
a
i8, which
it in.
i,
outside
should.
thirds, the
will
2,
3,
demand
next
minor
13,
is the
Each
long eighth-note 4,
and
i6
at
in
apex
please pencil
so
of
(same page)
being
finger.
the
at
occurs
finger;
The
exceptions
the
Solos
Piano
of
the An
measures
now
E, being
present
relative inverted comes
in
at
each
Godard
Find
measure.
preliminary The
7)
fiats,
note,
the
the
the
and
ten
page
the
two
First then
series
four
chords
the
of
on
page
melody
are
all
fresh
are
dissonances
three
dissonances;
unresolved
begins
measures
one
pedal
a
subject chief
hand
left
only
dominant,
the
cending as-
modulating
using
chief
the
notice
a
of
real
of
the
The
course.
key,
on
measure
2,
9.
the
fourth
motion
the
on
these
suggestions; will
success
watchword
of
a
finished
artist
along, will
appraise
"bother"
but,
if
his
a
who
and
the
effort, a
must
trained
This be
not
But, in
be
attempt
by this
steadily popular of
and
thanks
listener.
the
is
the
hearing
appreciation by
made,
downhearted
after
especially
as
profit by
to
furthered.
waltz.
then,
by
genuine is not
who
ideal,
this
play
hope
honest
an
contrary
assimilation.
requires can
passage
The
way. 1 1
assured,
student,
now
page
will
rewarded
be
of
if not
attaining
not
layman
be,
cadenza-like
sweet
own
score
who
delicate
a
s
top
those
Only
line
Godard'
in
appears
he
the
for
but
sequence
On
at
ures meas-
(begun
attention, of
measures
same,
resolve, a
four
trio
the of
claim
until
way
accompaniment. which
last
135
measure
omitting
call
change
material
first
exactly
third
time
matter
a
as
welcome
prepares
The
the
we
quarter-notes
a
of
what
again
comes
measure
of
subject
tenor
into
and
88
measures.
first
page
each
this
loudest,
Op.
here;
louder;
and
and
highest
are
Chromatique,
formula
the
higher
is dilTerent,
8.
Valse
"
all
a
ding plodpiece,
who
can
of
the
*Last
Hope
GOTTSCHALK F
this
from
hackneyed
music
somewhat
and
as
a
development,
of
merit
of
fictitious
possibly of
page
editions
some
popularity. is
of
will
simply The
filmy
die
not
first
his
while
of
a
talented
rein
loose the
artistic Do
this
not
the
to
in touch
quiet,
the
first
swell
a
spirit In
those
mentioned afore-
the
giving
manner,
limitations
dynamics
and
rhythm.
till you
of
play its
should
opening 136
the
the
have
phrase
natural
of
mind
the the
in
smoothly,
sentiment.
dominate
phrases
the
from
them
the
then
part
of
within
note
mood;
devotional
composition.
of
men.
impossible
not
to
free
a
though
much
weaving
in
imagination,
the
is
similar
them
Play
contrasts
contemplative
making
musician
circumstances
story.
of so
it
its
that
richly
hearts
that
with
theme
a
have
measures
first
ornamentation
the
adorns
the
to
the
the do
to
melody,
appeals
under
fancy,
it
yet
improvisation
an
of
of
and
on
much
much
beautiful
forty-four
conceive
to
that
mental senti-
title
appears
had
nature,
harmonized,
character
have
Granting
rather
a
which
story
sideration. con-
the
the
as
technical
serious
Doubtless
appeal
both
worth,
means
to
it yet
playing,
much
intrinsic
enough
has
become
has
piece
time
A whole value
Gottschalk
should
of notes the
far
phrases
value;
loss of
particular
they
as
are
Hope
observed.
closely
separated,
Take
in chaos. full
be
Last
"
137
Being
will end
regular rhythm the
that
care
have
rests
the
in
necessary
and
slow,
so
their
rhythm
the
as
notes.
of
the
for
chord would
that
should
have
lead
the
count
for
else
hard
to
of small and
it
in
left
is
It
measure
same
the
as
first
properly, with
ease,
then
which
until
group bar
they
bellish. em-
execute
can
you
will
of these
other
none
idea.
side of the
notes
group
it is
where
second
the
the
say
intended
the
other
the
on
to
case
a
usage,
be
this
give
trouble.
you In
10
the
F-sharp
left hand
thumb.
measure
are
unusual
key
similarly
at
the
of
C-sharp, in the
atmosphere
is best
treble
chord
and
the
the
reverie.
so
played
the
first of
and
Tonic
be
may
key
of
the
piece
you
Do
next
of
the
D-flat; and will
need
the
double-
in
21,
23,
and
destroys
the
heard not
the
especially
scrupulously often
the
by
bered easily remem-
more
enharmonic
accidentals,
time
rhythm of
and
Throughout
15.
Keep bad
the
Dominant-seventh
study carefully
sharps.
of
This
if considered
24;
about
the
ruined.
completely
are
you
modern
best
Repeat
to
as
lightness,
without
chord
is
effect
chord.
of 5 should
notes
They
"tame."
and
left hand
just
hand
the
to
the
slow
a
receive
should
notes
exactly, by notation,
express
According
too
best
the
notes
grace the
small
small
the
to
slightest break, Begin
is
four
to
this group
preceding
rests
greatest possible rapidity and
the
should
the
leading
notes
grace
The
This
count.
a
of four
group
left hand.
the
indicate
half
and
the
piece,
motive
typical embellishing
the
5 introduces
Measure
19,
here
fail in
the
diminuendo
and
rallentando and
27
At
of
beat
third
the
the
precede even
in
from
left
length,
principal
The
first beat
Of and
the
will be
will
and
the
just
G-sharp.
time,
the
value.
do
speed
till the
Measure
piece.
add
melody,
the above
Play At
44
and
46 the
its
harmony,
and
chord
while
all the
45
the in
flow
sustained
the
strict
be
strict
of
their
the
two
them
the
dents mor-
descending
first with
gradually
full
a
increase
the
regular rhythm
of the
attention.
Study
with
notes
it to
having
the
at
the
in
that
of
measure
the the
stems
the
up,
chromatics.
sing clearly
with
harmony,
principal should
careful
38
trill,
giving
measures,
; then
be
notice
to
in
principal
indication
an
noting closely
and
even;
very
of the
to
are
41
5.
manner.
the
to
requires special
right hand,
the
be
notes
sure
even
staff first,playing
bass
Then
43
will
the
and
falls into
measure
in
in similar
as
very
this
cacy deli-
same
mentioned
37,
these
the
Take
the
the
to
F-sharp, A-sharp)
Be
be
40,
change
directly
smoothly 39
sixteenth-note
each
to
with
In
notes.
count
and
close
disturb
not
sixteenth
in
exactly
notes
with
executed
tone.
which
sixteenth-notes
the
of
lightness
lead
being only
notes
the
groups
rapidity
same
Measures
small
full
be
directly
note,
their
the
(E-sharp,
notes
lead
extreme
done
trill, beginning
tail of
be
be
must
when must
as
must
these
and
must
of 33
the
course
All
break
no
smoothness
measures
ment embellish-
of the
notes
seven
G-sharp.
It
note.
and
of 32,
right hand,
to
to
organ-like.
and
with
value
full
Give
24-25.
soft
28, very
Solos
Piano
Well-known
138
and
right
nectedly con-
hand.
time.
theme as
This
melody,
with
possible, each
tone
enters.
"vocal"
roundly
filigreeembellishments
as
till the are
succeeding as
ethereal
one; as
it
Gottschalk
is
possible
the
of
group
done
with
used
to
careful left
that
do
The
hand.
At
begins
84
rhythm
The
is the
that
great
so
notes
with
stems
turned
those
with
stems
down,
triplets well
at
let
1
1
8
the
pedal
be
repeated
to
piece,
this
is to
the
for
the
left
hand.
only
left
all
deliberate the
marks
coming
trill
passage,
hand
of
should
be
than a
of
note
In
sure.
let
117
formerly;
and
out Through-
close.
expression,
each
beginning very
notes.
of
make
93
phrases first
sixty-fourth
suggest
carefully.
long the
In
the
and
hand,
right
melodic
ing hasten-
staff, when
one
for
of
more
notice
from
the
intricate.
more
are
the
keep
of
danger
those
free
successive
in
difficulty
up
the
the be
of
playing
All
of
feature
is much
Accent
notice
ritard
most
is
theme
for
should
67,
form
dragging
even.
rhythm
notes
grace
chords
the
of
are
During
the
109
the
very
106.
let
107,
At
hands
sustained. in
group
the
a
ally especi-
Be
high to
be
when
point.
62
always
must
care
in
there
and
ones
easy both
be
is
coda
variation
Frequently
the
notes,
the
this,
difficult
most
even.
measures
this
at
elaborate
an
The
fantasia.
following
ornamentation.
increased
with
chord,
excepting
interlude,
After
139
utmost
"whack"
not
little
unobtrusive.
quite
the
fall
to
you
or
subdued,
quite
happens
tone
note
and
hand,
this
Hope
thirty-second
small
left
have
The
them.
four
the
melody
the
make
to
Last
"
and
use
the
Berceuse,
Op.
1
38, No.
GRIEG this
N
Berceuse
mother in
who
the
old
wood
Every
one
in
the
its
while
away
listening the
on
suddenly,
of
wings
the
little
is
one
will
the ticed no-
the
to
song in
its
tition repe-
The
monotony.
lullaby
If
at
of
have
consists
mother's
sleep.
sleep
to
cradle
of
soothing
its
to
boy
charm
cradle
and
Norwegian
a
her
carved
that
baby
is
rocks
Vikings.
child
it
the
borne
is
song
too
ceases
in
interrupted
once
its
doze.
this
In
produced In
the
by
than
a
six
(The First
slow
counts
sounding "
of
easy,
the
second
gradually of
the
melody the
keys. one
rhythm
in
measure
triplets
the
chords
fifth
increase
composition
on
counts.
the
speed
is 140
reached.
the
drawn
hard,
that
absolutely
the
last
the
When
this
till the
correct
Then
full
great
no
true,
half
sort
and
is of
3
out
bony
is soft
add
child
petulant.
be
Then
measure.
the
and
A
piece.
the
here
must
of
the
and
; for
peevish
is
monotony
through
instead
play to
carried
then
opening
heard
clarinet.
difficulty.
and
from
soothing
is it absent
only
struck
is often
tone
like
the
the
figure
restless, of
tone
rather
rocking section
first
The
of
a
middle
becomes
illustration
piano
with
paniment, accom-
"and"
"
becomes
count
ment move-
but
Grieg the
two
to
the
measure
into
The
the
in
place
One
efi!'ect of
effort
passage
similar
other this
fit
and
such,
piece.
the
novel
considerable
is worth
the
141
i
triplets as
make
will
do.
to
easy
rhythm
its
mastered
thoroughly quite
treating
measure,
No.
Op. 38,
Berceuse,
"
ones
contrasted
get it just right.
to
"Ed.) Follow
The
middle in
higher,
which the on
flat
final
gives
half
second the
there
is
pedal
chords
point which
consecutive
the
old
four
of the
shrill
this
cries
cradle
gains
the
49,
used
in also
corda," C
becomes
very
modem In
47,
and
begins
a
long' nances disso-
53
have
we
reminiscence
a
59,
and
be
Now
child
restless
at
and
"Una
flat
D
seems
in 57,
its reappearance
At
study.
the
beginning
measures
makes
harmony
to
days, stirring his
Hear the
fifths ; and
Viking
of
series
interesting
are
two
minor.
a
marked,
G,
39
may
so
the
change;
G, with
on
not
score.
being
at
pedal
first
the
flat and
B
are
third
a
in
that
note
The
next
repeated
is doubled
although
in the
is
phrase
chord
enharmonic
an
both
sharp;
in
of S3,
half-notes
each
effect.
wistful
a
tonic
Please of
notes
indicated.
as
the
minor.
fifth of the
the
that
in
theme
B
the
period and
pedal markings
the
and
61, and At
63. the
to
of break. out-
again
67 diatonic
ing soothing rock-
mastery.
Butterfly, Op.
43
GRIEG This In us
the the
is
an
of
example
Papillons
of
characteristics
so-called
Schumann, and
foibles
his
"Program creations
of his
Music."
present
to
personal friends.
Well-known
142
which
hit
are
off he
Grieg's Papillon without
is
of
full
15, from
measure
8
measure
butterfly, although There
seems
this
piece. in
notes
In
present; but, in that
The
hurry. printed is
note
in
long
as
sixteenths. I
and
Also, there
with
the
fourth
right,
quarter-note, Three which
from
should
rhythm. the
The
then
measures
Also, the
and
and
be
harmonies Note
in the
melody,
finely played
G
the
chords
ever
as
that
first is
a
the
three
between
but
fractions
third
beat
of the
end
there
second
present
half in the
than
of
the
melody
at
17
the
is
second
measure.
a
measure
shortened.
right hand,
must
the
as
double 9
is
it ure meas-
the
measures
butterfly'swing
three
to
unexpected at
be
eighth-
of the
is half
rather
to
measures
in
A
note;
chord
the
to
is, equal
the
and
had
dotted
after
major
is
printing incites
that
erratic
four.
divisions
well
as
sixteenth-
spoiled. Perhaps
difference
the
time
into
first look the
the
the
second
the
the
always evident.
are
and
the
one;
lengthened are
in
sixteen
the
long
getting
must
you
see
is
of
left-hand
After
differentlyset.
find
even
measure
all
not
first instance,
the
In
17.
goes
the
as
to
wings.
count
the
generally
are
line ; but
one
to
of
appearance
measures
say,
us
feint, when
its
each
5-6,
measures
slightly squeezed
stirs
is, divide
time
let
might
curious
you
lines, each
the
in
difficulty in keeping
a
I urge
May
fours; that
It is here
of that
stationary,
always
first two
the
Some
its
depicted
seems
16, it flits up,
blossom.
or
Every
Even
uncertainty.
in
insect,
the
butterfly.
stationary
illustration
an
human
In
manner.
flight of
the
erratic
whence,
branch
higher
the
to
Solos
marvellous
a
represents
remaining
suddenly
in
such
reference
any
movement
a
in
Piano
bar,
and
13.
be
painted; and,
as
at
Grieg the
10,
exhibited,
Mine
In
be
143
like gossamer.
"nuance"
and
be
must
its mark.
miss
piece will
the
Country should
time
of
variety
or
Own
accompaniment
ascending
Every
Mine
In
"
Country, Op. 43, No.
Own
3
GRIEG This
bracketed.
Some
piece;
flavor
curious
the
in four
successive
forth
such
or
yet
instance. as
It
if you
passage
Such
things But,
taste.
the
are
right
though played,
you
to
hand had
if your
of
it
wistful
brings
country
draw
to
play perhaps
measures.
note
is not
together; it, and
overdoing
left
better
charm
again
parts
should
hands
to
be for
or
the
in
friend
the
smoothly
task. will
They play
such
a
pedal.
individual
part-writing,
as
the
to
for
measure,
harmonies
from
over-
marked,
cleanly, legato,without
refer
teacher
no
third
the
peculiar
a
it
pedal
the
refrain
is
four
for
the
in
times
there
two
chord
drive
feeling
glide along,
though
help
can
is it
or
would
native
run
must
four
Besides,
wisely.
his
which
even
will
the
the
to
this
a
sighs.
rule, editors
a
from
is
which,
uses
he
though
from
slurs
and,
it down
put
but,
;
in this
pulled,"
Grieg
as
four-part harmony under-held
term
There
in 9,
nose
your
think
long
the
using
them?
chord
second
measures
long-drawn
the
Note
like
to
first tomato?
absence
that
of
pleasantly
original progressions
having
would
One
yearning
the
of the
taste
home.
The
about
the
be
may
fond
are
affect
they
is "like
uninitiated, like
do
or
like
opus,
same
people
and
"very Griegy," first
of the
Birdling,
and
each
played can
the
be
of as
so
other
Piano
Well-known
144
voice
two
veritable how
duet.
piano
the
smoothly which
measures
but
12;
and
more
less.
nor
flow
have
of each
made
;
When
but,
as
is
rule, young
a
of
some
4,
7, and
never
hearing
the
step in advance
listen
players
are
excellently
so
faculty
distinct
a
"
a
hear
sounding,
notes
this
gained,
difficult is
have
you
There
which
four
once
can
way
find
will
you
flow.
fingering, always
voice
this
players
the
to
in
should
parts
then
bass;
Only
young
keep
printed,
and
tenor
parts,
Solos
only
is
the
to
top
voice. One
refer
might affords
which each
hand
a
the
to
D
and
of this
will
you
minor,
sharp but
special difficulty in reading;
separately
pathetic beauty
of
key
rare
study the
appreciate
key.
Birdling, Op. 43,
4
No.
GRIEG The
twitter
of bird
"Vogel
als
Prophet"
be
to
refer.
But
both
pieces
well
In
notes.
the
robin's
song
The
time,
-|,is
block.
Even structure
of
me
say
the
eighth-notes
there
come
attachment,
are
out
will
late
always
two
only right. prove
which
to
it would
imitation
mere
of
bird
quiet feeling
same
one's
attention
like
of
the
autumn. more
players
this
no
is the
there
arrests
older
the
is
Schumann's
of
one
key,
same
this
in
sweet
will
in the
which
country,
reminds
song
threes
The
less
should
in
of
stumbling-
a
to
pause
before
measure
are
or
they
the
counted
it, if it strike
and, in
with
metronome, at
Let
start.
measure;
aloud
examine
each
if
threes, it a measure.
bell
Grieg" "Once there
But
few
players
young
this
give full
The
chromatic
studied
to
accents
as
groups
are
value
chords
get
in
The
indicated. tied.
E, which
*'Once
In
16
the
notes
20
the
of
be
of the
should
top to
piece,
as sure
group.
be
specially
have
careful
must
15
14,
and
the
three
last
oft-recurring
note
is tied.
see
you
13,
measure
-note,
eighth-note
legato, and
double
a
final
the
to
through
145
sixth
the
sixteenth
the
place
can
'Tuck"
and
pitfall" at
is carried
rhythm
new
you
is
another
is
Time"
a
upon
Upon
1 and
Nos.
Op. 71,
"Puck,"
and
Time'*
a
3
GRIEG child
Most
these of
favorite
and
This
is
brought
progressions, which
to
me.
through upon at
hardly
Perhaps
a
maiden
better
from
mountain
a
Your
capture. than
in
with
like
own
say
what
the
and
at
give
must
it
all
your
means
leisurely along
wanders
cave
here,
"
you
to
archaic
forth
trolls burst dance
with
delight
imagination is,however,
far
mine.
"Puck,"
played
believed
curious
like
to
and
suddenly
dale, when
the
her
their
In
I
the
by
learn
music
play.
free
about
must
you
is program
It
fancy
His
feeling.
formerly
young,
story
fairies.
coloring
events.
and
old
both
countrymen,
World
Old
an
with
begin
over,
"far-away"
just this
with
world
Grieg tells
and
words,
Sweden
trolls
stories, all the
the the
impish,
frolic
mischievous
greatest possibledash
and
go.
must
The
be two
make
pieces together the
the
between
but
the
bassoons
firm, retentive
next
they
"
think
like
of chord
much
so
be
must
which
beads
on
It
chord
succeeding
on
requires until
the
Do
not
thread.
a
in
clarinets, and
singing
note,
hear
you
themselves.
of each
grasp
should
really piano music,
flow
it all to
having
are
voices
flutes, oboes,
the
motion
contrary four
it is not
:
smooth
the
when
orchestra
the
wind
the
The
bass.
and
of
and
slurs
long
melody
imitation
an
selection, and
Uttle
other.
like wood-
glide along
Solos
charming
a
off the
sets
one
First, notice
a
Piano
Well-known
146
of the
as
vidual indi-
part-writing. The
holding
unclean
such
the
or
playing
the
the
F
out
of the
key,
the
the
beginning F
the
major
chord
these
particularly
2
the
the
Old
"only
so
is
in 6, and
note
of
easy.
startle;
3, w^hich
measure
give
flit about.
rather
measure
study
measure
is not
which
sharp passing
beginning
of
you
together, which
progressions
the
by
parts
shows
and
soon;
hand
right
5, where
chords
chord
major
it too
rectified
be
only
printed fingering
the
players is either
young
releasing
instance,
several
are
all
or
can
difficult
Play
There
for
more
Fortunately, way."
long,
too
Take,
of Bach. 3,
note
a
of
defects
chief
two
really the
C
"Animato";
the
flavor
World
above
mentioned. The
pedal
change each
will
it with
beneath
strangely
forbearing
very chord
every You
measure.
blurring caused wood
be
by
must a
the
callous
teacher.
some
helpful "
be
laggard
pedal
there
and
foot.
to
a
defect; the
but
chords
listen
Better
this are
four
are
wary
than
pupils
"tranquillo";
at
for
in any
block
yet
distress
of how
of
a
''Once
upon
Allegro
Brioso,
Grieg"
the
At
which
injunction
an
experience,
from
curious
is
the
D
the
A
and
score,
felt
when
fifths
in
notes
surely
reminds
It
Gynt and
of
rocks
rugged
Here
and
the
which
from
the
second
eighthmusic.
pipe
Trolls
Peer
the
in
full
imps
is
consecutive
squeaking
music,
mountain
How
surprise
the
of the
Dance
the
ures meas-
the
more
shepherd
grotesque
romantic
"
in.
bass
suggest one
Suite
come
two
of
yet
next;
which,
but
tempo.
beginning
the
measure,
first
the
give
the
on
droning
the
and
at
sharp flats
The
147
the
in
superfluous,
necessary.
sharp
the
three
seem
dance
the
'Tuck"
and
count
may
I find
of
part
are
Time"
a
of
caverns
with
leap
canny un-
dexterity. The
Puck
affects
much
so
final
clash!
What
suppressed
curious
that
romantic One
time," the
coloring word even
bass, further
of
a
cannot
of on
(last
note
on
which
Grieg
Yes!
steps
metronome
printed
speed.
with
bar!
its
Low, and
dolces
sudden
page),
the
; all
which
these
is
give
the
excels.
is, "keep
halting
taken
though
third
rising higher
that
however;
descending,
as
double
Grieg
the
score
the
in
apart,
on
then
right thumb
like
notes
grumblings,
the
which,
the
the
at
by
those
which
fourth
the
fairies!
hill
caution,
mountain.
reach
and
moan
safely struck
most
of
like
up
is in
mystery
mutterings
mountmg and
music
droll
What
score.
fifths
sustained
the
see
"
consecutive
of
full
is
with
groping time
strict
quarter-notes difi"culty, into
here,
the even
come be-
heart if you
Well-known
148
Piano
Bridal
Norwegian
Solos
Procession, Op. 19,
No.
2
GRIEG this
In you
imagine
may
passing
At
left
hand
double
after
of
party
the
church and
all the
din
of
the
the
confusion
in
Norw'ay
in
In
those
the
of
bulent tur-
a
real
and in
shots and
guns
for
porch
tradition
the
battle
a
riages mar-
congregation;
of
of
really
security,
when
firing
arms, fire-
Christianity,
influence
the
attended,
we
and
rack
piece.
they
night.
a
the
perhaps
as
greater at
of
figure of
cortege of
for
and
and
whole
kind,
wedding
spears trace
which
joins in,
music,
had
cavalcade
a
proof enough
the
some
the
and,
rushings, with
raised
of
of
ever-present
introduction
could
we
wedding
excited
of
"A
men;
axes
thought
the
feature
every
is
dominates
generally performed
times
holding
which
the
armed
were
we
is that
Hfe,
country
jollity,noise,
violin
another
occasions.
such
long
was,
a
its
melody
explosions
or
also
are
on
bar
vitality
beats,
are
violin
from
hearing
All
accompaniment
unceasing Drum
mountains.
"perky"
the
is taken
within
yourself
the
over
festivity; the this.
which
humoresque,
and
pistols, for
the
bride."
Technically, than
being would slow were
found
people a
piece
you
strict to
time
study
quarter-notes not
is much
First, I
think.
march,
urge
the
is
particularly gifted
it to
advantage
to
cannot
the
in
begin with
four
the
so
at
(When
rhythm,
that,
necessar}^
metronome,
measure.
play
to
help saying
absolutely
it with the
to
difficult
more
two
pupils
Editor
counts
I
to
has
the
Grieg
using
measure,
change The
counts
two
to most
belong
to
rest, which second
The
correspondingly
struck
chords
slurred
should
beats
measure
reach
accompaniment but At
with
harder
much measure
from
the
(opposite
occurs
technical second the
42
this The so
note
fits its
note
See
figure
is very
lift the
hands
of each
to
of the
passage
well
off at
slur;
never
the
mind
the
that
jerky
the
of
paniment accom-
mitial
the
measure
At and
memorizing.
should
dot, and
the
thirty-
down);
upside
is
note
accompaniment.
52
not
hand),
each
when
at
could
figure
in
the
notice
serve Ob-
dotted
new
(turned
inverted
is
important
slurring
in
fellow
a
motion
difficultyis great.
thumb.
work.
double
and
melody
drum
is,in itself,difiicult,
it
the
for the
two
all, for
right hand
the
which
only by
right thumb
added;
where
33,
eliminated
be
must
pear ap-
besides
legato
the
are
thirds,
the
the
piece
is this
Nor
note.
and
is attained
usin^
the
where
22,
deep
the
the
very
mordent real
a
bar
the
played without
be
are
Difficulties
a
; and
through
All
Grieg
as
difiicult; and, with
the
upon
composer,
14
of
dotted
11)
7,
and
13
very
side
each
on
fingering:
are
attention
nicest
the
At
ornamented
is
first
repay
good
fast.
exactly together,
this, the will
and
thick
now
of this
and
way
marked,
(measures
first
short
Insist
manipulate.
to
the
double
the
to
being
in music
hard
of
another
short.
too
sextolets
excepting
uncommon,
later,
then,
very
measure;
measure
two
it
attention
your
each
in
indicates.
fifth
the
to
beat;
entrance
make
to
nearly alw^ays
is
beat
Try
draw
it is to
putting
is the
fault
note.
the
to
149
measure.)
the
to
common
thirty-second almost
eighth-note
an
Procession
Bridal
Norwegian
"
be
very
accent
the
accent.
solid; first At
Well-known
150
Piano
58 the subject re-enters, the
bass, another left
the
in marked
and
the
fired
off
let
like
cranky Use
those
with At
test.
the
right.
and
this time
crucial
hand
Solos
of
figure
the
the
68
the
ment accompanijust
explosive fifths, at Sostenuto
pistol shots.
it is
as
and
70
80
at
is in
melody
here
pedal
in
treatment
new
74, be
molto
means
ritardando. of all
Last is very
good
hand,
end
The
86.
the
the
at
end,
of
mountains,
which
in
by
volume
of
right
similar
place
sound
toward
tone, between
passing
the
of my
second,
the
at
procession
fingering
that
the
only the
intelligible.
are
Wedding
a
followed
hinders
so
I find
82, which
at
passage
83 and
away
the
fragments
merest
finger
measure
fading
suggests
unison
play.
to
fifth
try
"
the
to
come
uncomfortable
own
in
we
Day
Troldhaugen,
at
Op. 65, No.
6
GRIEG This
march
of
old
obsolete. to
bride, and
to
perhaps its
have
The the
will
form,
Long our
"bryllup"
the
explain
such
country,
customs
quite
are
customs
is the
ancient
ture pic-
a
may
race
by capture,
in
is
own
picturesque
marriage
of
and
in
wedding
prevailed
nations
"rushings
for, here
Norway
to
it is in
festivity.
and
day.
alludes
savage
This
with
in
this
shown
all the
attire
But
up
been
in
such
rustic
place there;
fashions
kept
trio, for
Norwegian take
scenes
and
are
for
which
times
the has
among
world. the
excited
explosions."
middle
section
Grieg The
"
rhythm
Day
is
spoiled that, although
time,
affords
pitfallshere
I
should even
one
of 4.
eighth-note,
the
first
trouble
to
will
how
see
far better
am
to
twice
cannot
may
know
is felt
time" to
the
as
a
the
play
and
by
the
the
doubt
heart,
and
whole
bell
arrangement
of in.
At
not
easy;
25
to
the
and
and,
30
it is four
count
the
in
is small
this
with
of
the with
the on
short the
too,
of
of
good
comfort
being
I
able
metronome, to
solve
any
ward, Aftermay
arpeggios, sound
You
would
measure.
rallentandos
in
indicator
march
relied each
aloud
"gift
heartless
a
be
written
if familiar
length
bravely
satisfaction,
the
may
appear
you
rhythm.
I know
piece through
the
course,
and
but
is such
beginning
that
see
full
counting
feel the
especially
ability,even
of
head,
which
There
the
measures
and
done,
you
in the
the
as
be
that
taken
measure.
virtue
cannot me
uninitiated.
on
in the
values
metronome,
insist to
to
prove
its
halves
the
and
beat, and
second triad
two
not
another.
will
you
an
triplet
absent,
having
complicated
in
over
if this
the
such into
believer
practice; for, you
is
half-note
the
of
beat,
23,
made,
broken
value
measure
the
on
the
of the
measure
is
comes
them
cut
firm
a
the
measure
all
In
eighth-notes I
the
down
beats.
two
of
compare
initial
half
last
pitfall,and
one
triads
hold
duly
the
strongly /^^Z it; then,
first of the
the
is
half-beat
should
yet you
of
This
beat.
the
the
measure
to
of the
that
on
the
with
conception
it
that Written
well
measure
observe
of 2, enters
be
it will
first
clear
a
in
strict
a
unwary.
accents
and
the
please
end
at
group,
Here
of
the
151
player
young
for
strong
upon,
Having
the
there
two
rhythm
at
warn
and
insisted
be
the
on
should
time,
common
often
so
march
in
Troldhaugen
Wedding
of
be
put
which
are
tonic
and
Well-known
152
dominant, of
order
should
you these
at
26,
of
the
(If
are
Httle
two
difficult
so
thumb-note first grace
the
thumb-note, smallest lower
hands note.
The
to
four
to
hurried
the
into
They
sing
the one measure
and
very the
the
to
of
duet
same
later,
it of
the
wide
bass
last
At
the
in
of
Grieg
has
to
the
me
with
horse-hoofs. will
you
render will
you
arpeggios up
so
For in
high, but,
of the
notes
51,
of
arpeggio.
notes.
bride
and is canon,
contrapuntists,
melody
left, of
laden
of
two
is called
what
back
proceedings.
going
component
to
on
technically,
the
last
not
come
is
suggests
fail of
marked.
lead
means
Surely
if you
notes
you
42
carioles
conversation
school the
all
but
apparel.
by
the
as
which
notes
trampling
the
hands
at
hands
helter-skelter
this
What
shortened
Bach
bass
right spirit
intimate a
the
both
pedal
stir, until
long
even
tranqitillo. and
a
be
the
keyboard,
and
ill-trained
alone
of
the
studied
using
departure
and
curtailment
Poco
the
omitting
familiarity, place
fear
brave
keeping
course,
after
great
and
gusto,
might
with
only
for
is best
31
imagination,
your
guests,
or
at
subject.
it with
small
brilliant.
exactly
excuse
first
omission
the
only
elsewhere,
any
not
down
jollity and
of
have
a
All is
enter
sounded
advised
then,
arrival
wedding
Add
be
ponderous
to
course,
55,
ornament
be
tioned. men-
appear
if the
make
tonic
the
which
forgive
note
Do
"galloping" those
just
measures
notes,
is the
such
Ed.)
"
between." are
both
I would
bustling figure
You
that
that
will
together first,and "in
in grace
I have
as
Solos
recognize
to
try
chords
two
The
Piano
being written
sung
bridegroom again an
which "in
cautando
are
possible. device
old
consists imitation" to
each
Grieg
Wedding
"
constraining
entry, double
bar
lower
the
keep
Make
also
crinkly
lines,
very
You
ravishing
change
to
reproduce
must
try this
pervades
of
bows with
yet
from
heads, The D
piece,
in
which coda the
festivities;
tuning play fifths,
of
only are
with
on
the
bass,
and
the
very
last
of much
an
strain.
the in
on
a
a
evidence
hardly
the the
major. which
in tonic
rowdy
in
rhythm feel,
yet
their
polite
society.
pedal,
always
we
kind
strings, this
in
refrain
wind-up
intermittent
The
ined well-ros-
nodding
or
and
the
must
form
leaving in
who
grip
can
feet
is like
are
the
You
page
by
G
to
'cello
good
by
Note
and
hearers
not
seems
guests
fiddlers, part
and
their
is
know
we
down
affection
again,
your
is
duet.
love
bass
that
time
beating
back
determination.
greater this
playing
double
which
shown
intimate
begins
and regarding dis-
effusively. key
little
march
the
of
here
moment
chord
effects,
the
charming the
Abruptly
the
and
prettily
the
prolongation,
arpeggio
the
well
as
measures),
four
hold
the mentally senti-
too
pedal
for
pedal
cannot
you
hand.
for
At
almost
soft
unbroken,
disturbing
since
equally
marked
melody
the excusable
is
proper
is
the
; use
153
piano.
the
on
major
B
words
for
pedal
the
of
chord
Troldhaugen
at
sing
to
you
the
sweet
(for
Day
march.
to
hear of tuned
the the
way
in
Sympathie,
La
39
Op.
GUTMANN
of
not
the
should
rank Valse
is be
easily
down
put
the
a
the
of
Young
people
melody
Do
separately. play
single
this
pretty
is
of
made
melody
at
the
third
and
ends
hand
neatly.
notes
of
run
until
a
Study
finger with
the
particularly
the
should
ends
The
thumb. is
accompaniment not
falling with
and
begins
not
so
be
154
it.
of
hands
mostly
pearls,
a
disdainfully
and It
of
variation of
fingering
Measure
as
Study
dimimiemio.
apparently easy
contour.
playing
string
a
each
that
so
lifelong?
phrases,
four-measure 17.
It
and
crescendo
their
all like
is
it
might
acquire
violinists
that
melody
thing
graceful
a
dislike
to
remember
they
rising
the
with
much
so
seem
One
into
fall
may
of
Gutmann's
played,
fingering,
of
ladies
pen.
touch.
light, rippling correctness
outset,
phrase
master's
his
to
well
when
and,
attempt;
demands
It at
clever
a
Still,
said,
one
and
countesses
Valses!").
his
play
quahty, music.
(some
style
but
"None
haps per-
unapproachable,
an
aristrocratic
first
refined
had
Chopin
valse,
very
undeniably
but
has
Chopin
attractive
this
written
of
friend
and
PUPIL
begins
18
simple
it looks,
10,
left
if done
ignored,
but
Gutmann
if you
learned,
soon
inverted and
23
cantabile
at
Adhere
minor.
is
22
eighth-notes
Stick
are
fingering in
the
to
A-flat
little
this
Have
small
in
and,
desired: dwell
the
F-flat
the
on
tied,
be
and
surely
91
elegant
sixths,
in
gives
which
somewhat,
At
sound
to
figure
pretty
either
on
ritardando,
dolce.
the
beginning should
notes
that
from
on
time.
and
tone
and
diminuendo
85
quarter-notes
of
quite apart
phrase
before
pause
four
At
slur.
long
level
dull
one
key of D-flat
rare
one
"
of
link
the
spoil
both
Make
side.
phrasing
the
keeping
by
in the
is written
70
to
mostly
amateurs
the
at
24.
The
then
ness light-
figure
three
higher.
octave
an
that
see
155
39
extreme
efifective
The
combined.
and
certainty
till
patiently practiced are
Sympathie, Op.
La
"
a
at
as
96, of
sense
rubato.
Invitation
Carry
the
out
At
can.
at
the Dance
to
fingering, and
for
theme
rocking
The
is
168
a
it
Obbligato
interprets all kinds,
keyboard
to
Coda
begin
may,
two
We
eighth-notes. scale
of
two
scores
over
and
four
have
a
be
that
descending
sequentially
measures,
must over
before
measures
well
as
the
piano to
reference,
be
no
containing and
an
cialize. spe-
said seven
ascending
repeated.
digested, played
again until memorized.
say
key.
need
is
of
convenience
for
minor
you
tional specifiedaddi-
but,
there
"clinging"
(let us
the
certain
a
accompaniment;
instrumental
The
for
Chopin.
softly as
as
in
repeated
is
"necessary"
means
a
obbligato passage
so-called
'cello); and
the
and
beneath
notes
of Weber's
is of
proper
breadth
with
all the
play
suggestive
as
valse
the
as
slurs
long
is
135
These
separately
Also, when
learn-
ing it, make
dwell
into
the
top
on
should find
sinks
that
so
of
note
of that
notes
little
the
Further
out.
of
should
on
you
will
you
before
obbligato instrument
same
the
scale, which
chromatic
the
highest
contour
Especially
memory.
forcibly "twisted"
be four
the
each
on
pause
quite rubato,
eighth-note, passage
decided
a
Solos
Piano
Well-known
156
mentioned.
Chaconne
in
G
III)
(Lecons HANDEL This
is
being audience
days
of
music to
music
was
was
present,
very
popular
"A
ground,
please, is pricked him
who
is to what
or
the
purpose;
who,
having
theme
intention Handel the
right
brilliant
the
other the
for
said
in
ground
do
then
has,
him
hand passages
that
inverting
play
it
his of
you for
one
chord, harpsi-
apt
for
the
viol,
the as
eyes
his
descant
skill and
or
present
him." the
uppcnnost,
by giving
ground
it what
upon
variety his
grieve
organ,
plays
as
early
musicians.
be
before
such
to
an
an
reign, I
papers;
may
ground
suggest
by
upon
thereto
accordance
with
several
two
put
a
on
gram, pro-
the
than,
bass, call
instrument
other
home
amusement or
to
In
extemporizing
in
subject, plays
or
division
play
the
subject
down
likely
Elizabeth's
Queen
to
at
popular
a
themselves.
in
as
attached
is a
read:
We
when,
and
to
with
terms
more
it
say,
bass
good
on
listen
to
easy
opening
for
capital piece
a
the
bass,
that
increased
left hand
is, making the
quite
scope as
much
of
Handel
work
the
as
still
giving
mode,
minor
the
and,
had
The
broken
and,
;
major
by
157
by altering the
setting of
key,
winds
chords,
G
further,
variety
more
key.
by
theme
course,
in
reappears
Chaconne
with
is bedecked
with
the
up
the
brilliance.
great
little
The
met
excess
in
thin
of
tone
the
whistle
tin
known
folk
jovially
instanced
which
old
saying
bits
from
the
the used
women
felt
they
"unco'
in
notes
grace
only
well-
Farmer,
singing
but
guid,"
which
John
when
tistic, ar-
certain
additional
indulge
to
tweedles
master,
in.
most
are
in
the
filling
some
inserts
curious
to
Perhaps
wondrous
old
My
songs.
giants think,
now
we
fioriture
of
artist
street
as
great
such
two
invited
little
His
day.
sarabandes.
harpsichord
the
different
very
his
to
Handel's
course,
that
indulged,
"
agremens
his
in
strange
"
other,
each
measures
admired
Bach,
the
eight
much
so
contemporary. never
of
theme
flourishes
the
Of
hand
right
in
Chaconne
"
on
psalm,
a
a
modest
scale. You the
will
hands
"
adhering
to
diatonic minor 16
in
may some
variations
notice
the
in
triplets,
the
new
figure,
harmonies. and
key
cases
Clean
but
always
the
final
execution
all link
If
is
too
played of
a
and
the
nine
Variation
and
pairs alternating
arpeggios,
or
part- writing.
omitted
be
scales
in
run
simple
same
in
brings long,
Nos.
without
variation
desirable,
always
13,
repeats; will
perfect
need if
the 14,
but tailing. cur-
possible.
Well-known
158
Piano
Solos
Blacksmith
Harmonious HANDEL Handel's
music his
of
Suite
in
being
Anne.
The
or
the
to
way
seek
by
smith
clerk.
home
fact
it,
chord. harpsi-
or
graceful in
one
ease
which
he
imagine
can
drawing-room
of
exquisite piece
known
the
it
Handel
Queen as
a
he
here his
at
said, made
is
the
and
which
of
out
was
him
the
stroke
every On it
to
also
was
melody
bass.
agreeable
an
who
blacksmith,
to
his
making
compelled
caught
little
ard) Stand-
Musical
Edgw'are,
near
work,
with
was
rain, which
of
shop
The
in
M.
day
of
shower
made
Handel,
A.
"
(though
it
Cannons,
at
While
hammer
with
"One
humming
was
the
a
in
shelter
parish
in
chapel
overtaken
the
the
times
the to
a
contain
follows:
as
into
associated
foundation is
listening
of
ment instru-
Blacksmith.
anecdote
no
of
suites
of
the
to
spinet
is full
style
ushered
Harmonious
The
Pieces
fact, while
himself
The
de
old-fashioned
ornamental
highly
lived;
distinctly adapted
the
time,
His and
is
returning
this
Air
and
Variations.
a
Recitalists
know
program.
This
"hammer
strictly the
and to
added
inverted and
four;
the
the air
is easy
tongs"
order.
interest
the
and,
HI;
finale
there
Each
is
being were
a
only
one
a
new
of
scale
special feature here,
in
the
gives of
being
variation
similarly, the made
music to,
harmonies
being given by
Embellishments
style; but
such
listen
to
diatonic
same
in Var.
relief which
of
to
the
adheres the
figure
theme, which
triplets of
is
three
passages. of this
antique
second
double,
Handel
which
is very
"tweedles." used
Farmer,
John
I
"good."
impromptu
in
Bach,
enliven
"They
the
They
they
contribute
always
to
sad,
their
Mr.
they felt particularly heard
of
the
to
connect
the
give the
cheerful
of
notes, them
a
character
otherwise,
or
the
to
that
value
great
elucidate
share
these
read
to
necessary,
help it be
whether
music;
when
psalm
master,
interesting
serv^e
and,
them,
is
enough
their
company,
speaks
1752,
special emphasis. of
It
old
are
old
when
his
159
invest
dear
was
in
notes.
"agremens":
they
it
say
who
us
ladies
My
have,
grace
Emanuel these
to
of
old
hearing
with
singing
Blacksmith
Those
curious.
remember
may
Harmonius
"
effect.
An
indifferent
aid;
without
while,
ladies
old
With
neatness
be
and
playing
is to
the
tied
be
effective, have
you
played play
with
each
(Whether not,
those
variations of
variations
would source
may
the
speed
and
the
this
; then
they
triplets
to
is attained
take
you
the
Variations,
part-writing
All
study
of
set
always
them.
all be
may
traditional
If
is to
way
"pianissimo."
repeat
E's,
hand
touch;
melody
evidently thought
this at,
finger staccato,
this
the
of
valued.
notes
whatever
at
good
a
So
aimed
only by diligent separate sound
best
their
by
days.
younger the
to
extreme
exact
my
improved
the
even
meaningless."
of
regard
be
may
them,
and
empty
appear the
composition
.
.
.
mentioned
story held
I and II to
of
origin.
"
bass
the the
and
should
IV, a
Ed.)
bit
of
any
foundation
of
the
theme
sjorzando
III, and
lend
seem
in
has
be
B's
well
plausibility
in
or
and
of
the
treble
sustained
and
to
some
such
*
Tarantella
in
Flat, Op.
A
85, No.
3
HELLER
HE
rendition
successful
depends
The
tarantella
dancer
be
for
cure
a
which
from
dance
and
the
slur;
begins The found
by
a
sixth
then a
its
one
the
tula, taran-
The
of
by
the
utant, exec-
strongly
cented ac-
produced
accent
fourth
the
to
supposed
name.
leaps
of
of
motion
spider,
syncopation
of
six-eight
time
music
the
beat
delirious
one
frequent
recitative
short
beat
of
a
first
the
to
measure
the
touch new
last
ninth
has
measure
only
in in
them,
orchestral the
the
to
stress note
in
an
music.
third
space
of
indicate
that
there
introduction
the
accent.
measure
first
lightly,
even
is very
contrast
it
160
the
on
very
The
measure.
of
phrases
attention
sforzando
strong
a
at
deadly
third
swift,
whirling
derives
in
the
of
particular
bars
between
dance
phrasing.
restless
was
the
and
measure.
the
without
the
by
the
next
Play
Place
and
slurring
measure
of
of
marked
are
beats the
bite
characterized
is
which
by
the
a
in
The
measure.
the
is
dance
Italian
to
execution
tella taran-
qualities:
two
upon
of
neatness
this
of
of
note
though
usually
The
heavy,
each
staff, be
it
effective.
abbreviation
will
the
two
ular perpendicwith
the
measures
2
This
of rest.
long
times
when
the
most
vehement
Beginning
three
counts
is
first
four
of
the
let the
finger
slurred
motive
time
have
fall
with
melody
stands
regular
in
the
syncopated In
which
This and
the
four
times
ben
hand
the
that
and
23
the
eight
right
lightly In
the
24
pronunziato,
Make
hand.
all
these
add so
then
two-note,
must
bass.
"leap" by
it
four-measure
of
melody
accents
measure
them
Stress
contrast.
hand,
When
but
right
the
a
regular
the
piece
It is
accent.
begins
42
the
on
motive.
the
in the
appears
it is marked,
as
second.
accent,
clearly
out
the
mastered,
are
of
drop
a
accent
together.
characteristic
execution.
same
motive
two-note
on
dominates
melody
chords
by
note
lightly
the of
meastnes
first
the
for
eighth-notes,
slurred
this
of
appearance
measures,
mark
two
are
1 1
eight
the
Observe
Then
note.
for
melody
the
study alone.
and
well
Accent
than
eloquent
more
,
the
There
here.
important
silence
161
3
utterance. 10,
first
the
over
at
No.
Flat, Op. 85,
is most
pause
left hand
the
A
absolute
are
with
in
Tarantella
Heller"
of
way
maintaining
indicated,
as
kept by
are
in
phrases,
good
a
legatoAt that the
74, will
take make
at
them
which
as
triplet
a
first of these the
on
the
the
the
last
six in the of
of
the
these
measure
notes,
often
that
Notice fifth
two
three
so
are
and
the
The
fall.
at
recitative
of
one
beat.
grasp
sharp stroke
measure
half
firm
a
opening
contains
sixth
the
second
a
students
close
the
Count
measure.
accent
makes
of
return
most
on
Avoid
full.
82
which
sixteenth-notes
played
the
Measure
76. into
"traps"
ring
with
chords
sforzando
Observe
keys.
figure
the
the
division
put
till the
a
of
ful care-
rhythm
1
established;
is
increasing From
to
be
of
slackening
In
sounded C
of
The
bass,
more
sounding previous
E-flat,
endo
at
with
202
is
201
;
and
"whirl."
the
this infuse
make
Keep
notes
principal
than
it.
into the
the brio
con
eight
strict
over
time
a
slight
a
evenly
allusion should
note
middle
the
second
passage Resume
how
much of
way
part
of
the
with
all
the
the
string-
beginning
measures
to
D
note,
old-fashioned latter
be
the
melody
and
the
on
and
crisply
carefully
be
which
to
treble
the
poco
whirl.
grace
and
notes
Play can
of
out
grace
you
two
only
a
of
should
"trap"
the
effect
the
beat.
of
to
this
these
animation
second
treble,
exception 200,
lowest
the
begins
155
107.
measures
the
impetuous
an
quickly
going
brilliant
to
natural
B
Work
natural.
in
first
the
note,
grace
ends
at
the
198
and
106
memorizing,
and
with
the
separately.
exceptions,
Also,
in
in
reading
identical
with
the
with the
it
occurs
made.
was
when
reading
hand
each
two
lower.
pace
till
178
is
which,
of
developed
it
twenty-two
in
with
group
stringetido,
poco
lose
in
lies
ritardaiido
the
both
that,
octaves
for
following
the
each
two
or
will
you
difficulty
also,
;
153,
observe
note
or
parts
simplified,
will
bass one
at
much
you
the
stringeitdo
Beginning
if
chief
the
107
Study
the
diHgent
Solos
speed.
the 86
Heed
be
then
chromatics.
will
Piano
Well-known
62
the
final
chord.
d'Amour,
Repos
Op.
4
2, No.
HENSKLT HE
song"
adherence
than dalliance
low
There various
best a
but
legato, whether of
by
the
; but
pedal,
another,
without
the
finger
same
experiment good
to
astonish
players
break,
I do
they
successful
in
by
their
us
age, man-
note
to
played
by
one
are
when
but
case,
my
will
can
remember
not
or
pedal
pianists
when
the
thumb
the
of
in
be
right
sound
the
melody
must
course,
young
on
carry
thumb. first
was
few
very
any or
Of
thumbs.
Set
voice.
the
the
ful, rest-
melody.
object
it with
play
the
contralto
fingering chief
vein,
sweetly
more
flat
B
of
forms
Mark
deep
a
of
your
you
both
useful
most
like
ways
editions;
mixture
be
several
are
this
in
glides along,
it
down,
sings
else.
anyone
close
too
particular
this
Henselt
however,
his
smaller
In
critic,
the
on
the
to
composition.
affectionate
by
Schumann,
"love
perfect
twitted
was
Robert
this
of
composer
the many
in
non-success
this
respect.
pedal
The
which
note
also all
in the
struck.
is
strings The
a
richer are
tone
be effect
vibrating
so-called
left
in
;
163
for,
it
when
(which
the
finger,
the
by
sympathy
pedal
loud
sustaining
in
only
not
sometimes
must
giving
useful,
most
with is
is
but
down,
the
really
one
the
Well-known
164
sustaining pedal)
is thus
softest
There
passages.
taste, but
you
Yes!
is
there
of
vestige
no
latter
it
muddy
this
to
its
song
for
find
will
The
cannot
means
the
being
in the
the
with
"love
no
accents
which 12;
Throughout bowing With
play
of
and the
the
regard
three
get
you
melody
the
must
you in
slur
your
"ways
and
notes
with
and,
the
mosphere at-
beat,
every
when
be
have
find
will
the
that
in
effective.
very the
quite
will
we
particularly
have
;
detached
must
13
note
background.
you
at
the
delightful
a
almost
brace
dwell,
may
make song
to
third
the
and
keyboard,
your
mechanism
siderations con-
Each
the
the
pedal squeaks,
In
'cello
in
rule.
other
disturbing
of
you
golden
separated
to
with
pedal The
your
song."
measure
the
noise.
a
unless
on
this
of
discrete
use
9
inaudible,
be
register of
jealous
very
measure
not
richest
and
then
effective. to
marked
melody,
the
very
if loath
as
very
accompaniment
but
of
fully care-
here.
upon
serenity; particularly, keep
of
After
be
study
qualified by
carrying
reference
this
the
to
give
to
minutely
touched
advantage Be
smoothness.
Henselt
so
the
preceding
Mazurkas);
are
be
make
to
is to
and
clean
of the
way
Chopin,
judgment.
as
enables
exceptions
next,
fullest take
must
you
of
will
pedal, skilfully used, to
so
the
good
own
be
must
dregs
best
exceptions
which
Portando
link
which
instructive
these
our
and
next
(particularly the
Sometimes
must
the
in it the
editions
few
a
chord
in
even
piano, and, therefore,
the
Klindworth
by
except
discretion
each
pedal
modem
rule
no
into
abuse.
and
the
that
by having is the
use
is
dragged
It
chord. us
rule:
a
used,
constantly
exercise
must
Solos
Piano
timbre
and
mind.
means," the
right
at
measures
hand
and
9-10 follow
Henselt"
with
on
15
the
the
Hi.
pp
only
as
reign
supreme.
below,
and
strong
thumb.
last
low
fifth,
the
the
which
so,
at
be
Getting
35. is
not
happens
27, If
28.
here.
the
clever
are
is
advisable
plenty at
of
30.
the
over
sequential thumb
ing chang-
at
of
to
time
Make
to
the
41. to
well the
worth
the
change
you
the
stretch
whose
finger At
there
note,
same
referring would
measure
particularly
afresh
Again
melody.
the
your
attempt
s,
fourth
omit
to
clumsy
a
Henselt'
the
pass
in
the
than
now
of
have
may
must
are
stroke
the
you
like
are
in
natural
26
better
22
flat
is
start
it
far
in
on
and
1
hands
B
B
fingers
and
is
beginning on
coda
2
In
to
first
in
which
Few
phrase,
do
At
notes
curb
to
enters,
'cello
the
detached
need
measure
melody
"obbligato"; short
subdued.
refrain,
violin
165
4
very
the
a
19
No.
2,
notes
of
At
here
enormous.
was
"echo"
The
whole.
the
the
subsidiary
a
you
A,
the
passage.
Op.
bass
keep of
most
"
but
but
left;
Make
d' Amour,
Repos
the
the
to
composer's omit
tenths risk
the
as
of
a
hands,
large
haps per-
eighth-note
second
D
uncomfortable
written
is
blurred
note,
which
ally usu-
The
Mill,
Op.
17, No.
3
JENSEN HIS
demonstrative
happy, in
alone,
by
brookside,
summer
still
grass.
Recall
the
on
before
have
regret
their
asked,
on
a
reply
in
of
the
taking
the
mill,
a
by
faint
clatter
it
seeing the
dusty
water-mill
a
When
one,
piece
they
and
I
pupils have
they
been
the
example
are
always
nearly
illustrates
beautiful
most
a
pleasant
with
whether
seen
This
negative. is
piece,
even
or
the
door.
disappearance. this
is
dew
corner,
alders,
attracted
up
and
the
the
at
gradual
water-mill
inside
from
out
been
always
turning
on
himself
sunning
miller
then,
peeping
you
I
and
wheel,
the
glorious
a
the
the
hearing
on
ody, mel-
a
on
when
feels
one
humming
morning
sensation of
mood
rambling a
that
illustrates
beautifully
piece
of
noise genre
painting. You
in
as
may,
this
will
claim
substantial; clack
arising strongest
of
of
the the
from note
if you
the
is
made
dominant on
in
G, a
would
weak 166
the
material
of
plenty technical in
the
get
smooth
two
mill
being
thirds
slurred
attention, also,
for
piece
easy
group
find
student,
young
apparently The
The
a
ment. advance-
second clean
them
quarter-notes the
left
lowest beat.
hand,
and,
ure meas-
and in
perhaps therefore,
4.
Jensen In
measure
fourth
17,
G, the third
on
in
18, 19,
sight
of
cog-wheels
must
be
behavior
The
repeated
single
fifth
finger,
but
observe
This
how
The
measure
strongly
43,
make
and
The
Coda
dominant
begins pedal
through.
The
second
E
on
the
of as
Notice
76 is the with
the
rather
get
contrary it
Begin than
longer
visit
a
local
the
in, and
he
shows
shaking,
minor
the
you
is
G,
At
two
turned
is
A,
The
are
The
had
we
quired re-
weak
effect. 68
the
is struck
your
added.
last
that
so
notes.
pretty
triad.
been
push
all
up
hand
melody
such
kept
F,
note,
to
two
in the
the
device
lines.
It sounds
off and
the
great
stand.
a
coloring
round,
white
G on
inverted
an
well-trained
seventh
had to
next
seem
with
mill; if you
a
is fourth
1
firm,
how
on
knocking
till the
will
water
the
is written
augmented
slowly
came
7
keys
is used
augmentation
should
the
the
at
A
harmonized
chord
To
in
grinding.
notes
that
on
finger.
off.
though
how
sing
or
at
wheel
other.
vibration
of the
sixths
represent
fingering
here,
differently
same
the
water-mill.
a
67, and
at
; see
may
fourth
fingers
chord
let
due.
is their
by
the
each
first four
the
by
cross
chromatic
may
played
thumbs
inside
eye note.
one
again
one
25
the
on
be
reminds
broken
of
with
here
two
feels
and
23
thumbs must
27
the
suggest
43
again,
two
slurred
seven
wrist; and
reiteration
passage
motion,
the
at
the
keep
Measures
over
at
of
that
the
note
the
always
one
of
from
continuous
which
and
over
167
3
thumb;
group
motion.
in
the
watching
The
still more,
and,
studied
F.
on
No.
17,
hand
right
no
use
notes
eye
Mill, Op.
The
"
of
find
the
you
flour
this
pretty
piece,
miller
good-humored
will remember
dust, and
the
you
the cobwebs.
noise,
Valse
Arabesque,
82
Op.
LACK
RENCH
superficial
brilliance, but
of
quality piece. find
it
and
will
There this the
is the
: one
happy
another,
more
faculty, developed
by
ear;
music;
piece
of
finger
memory.
The
the
thing
you
must
the
first
note
or
awkward
worth
myself, be
easily
root
is
B-flat;
dominant.
and
it
or
the
absent);
ninth,
sake
the of
1
68
I
gins, be-
have
perienced ex-
first
C-flat; second
simplicity,
you
built the
case
fifth, F; and
so
if are
this
minor
eleventh,
inversion you
chord
chord,
chords In
the
piece
investigated,
root.
(both
minor
the
Lack's
Such
dominant
is, therefore,
(For
be
habit.
D
frustrate
how
a
tion posi-
exact
introductory
should
good
third,
A-flat;
seventh,
E-flat;
tonic
the
on
The
the
to
of
of
automatic,
This
position
forgotten.
this
formed
either
the
reiterated,
persistently have
for
and,
forgetting
design
or
is
logical
the
the
mechanical
of
memory
is
of
doing
of
on,
precaution.
every
memory.
is the
study
chord;
repertoire,
from
remember
of
predicament is
can
is
probably
methods
relied
analytical
first of
be
ing-room draw-
pretty
your
which
tune
guishing distin-
the
will
it
three
to
last
in
play
of
this
You
useful
are
gift
is
effective,
haps, per-
will
of
the
notice
Lack
the
that
this
and
horizontal
and
paves
is
played
by at
with
third
energetic
an
44
gives
soon
(50)
and
string;
finger, and demands slurred
(84) in in
see
85, also At
hand. the
that
the
F-sharp,
(dominant)
hrillante for
the
chords.
Do
not
leggierissimo;but
mind see
of
that
the
of
in
each
the
that
and
the
lie
arpeggio
five
use
phrase
well
marked
passage
is
play
notes, each
thumb
on
Keep
measure.
to
in
The
notes.
the
six
of
the
to
together
thumb
the
77
grazioso
the
melody
108,
staccato
Measure
over
At
the
passage,
light,
very
crosses
detached.
group
is present
the
second
half -note
the
"glide," using
one
off
the
light.
left hand
notes
and
group
is in
join
"
and
five
the
and
short
the
soft
chord
smooth
one
while
quarter,
small
bass
attention
your
which
2-5,
76, in A-flat, with
at
ure meas-
is 5-1.
slur
the
is
whistling
bow
the
character
capriccio
slur
the
violinist's
Cantahile make
for
fingering
in
pompous;
very
the
At
subject.
once.
feminine
more
36,
at
appears
make
of
phrase
A-flat
the
measure
phrase
must
you
a
3
ures meas-
arpeggio,
each
four-measure
second
the
the
Begin
Pedal
like
sound
should
the
best
the
finger.
valse
opening
the
little
the
a
large
four
Observe
Mind
to
way
the
of
of each
hand.
left
which
minor,
relative
abruptly
off
cut
theme.
first note
the 29.
been
measures;
18), curiosity is aroused
of
the
the
minor
(to yourself, of
sixteen
for
has
169
and
(indicated by
bars
for
returns
down
measures
way
82
triad
strict time
of sound
burst
that
begins
like
pedal
notice
which
it
the
20
At
At
Count
heavy
the
diminished
a
Ed.)
silent
three
the
"
hold
and
when
then,
by
F.
on
Op.
Arabesque,
form
tones
seventh
course)
Valse
"
the notes
note
the
B companiment ac-
slurred at
the
really brillante.
Well-known
lyo
The
abrupt
familiar
be
can
end.
hand
half
pieces,
At
223,
instead
of
of
down
where
the
their
till technical
from
The demands The
dominant
convenience,
more
which
be
it
familiar; should
be
so
upon
suddenly
fired
off
the
bizarre, B
as
a
the
240
keep
the
pianissimo,
at
latedassimi-
from
264, in
gunshot.
the
256,
finger.
fourth
major to
hand
left
thoroughly
reverts
like
hold
The
with
each
228
widening
ever
260
chord, looked
be
must
thumb
well
the
increases.
Begin
French
at
into
merges
252,
At
and
the
the
study
left.
length;
pedal,
attention.
typical
full
with
and
the
difficulty
accompaniment,
it
144;
toward
increase
fingering;
music
the
plucked in
rest
arpeggios
the
especially
down
-notes
the
over
difficulties
printed
the
well
measures
made
efi"ective.
and
begin
be
must
128,
at
pause
the
225
separately,
pedal
the
Solos
two
next
capricious
most
flats,
the
much
very
Like
and
you
Make
out.
into
change
to
Piano
for
may,
sharps, final
tonic
if
Papillon,
Le
Op.
18
heard
on
LAVALLEE
HIS
is
piece
which,
piano-players,
and
Still, there
ease.
ness"
in
which
we
yet
thumb
worth
the
The
at
with
2.
the
easier
made
The
first
inversion
is
the
chromatic
at
don't
and for
each
of
look worry
it is all
the
the
built
2,
well the
the
on
171
Nothing
measure
descending
in
thumb,
The
go the
chromatic
is
fingers,
3,
broken nant domi-
measures
hand
left with
staccato
with
triads,
the
four
you
cadenza
a
until
2,
special
long
hand
left
on
at
22,
key,
consecutive
with
but,
15;
The
the
exercise
3.
black
26.
where eye
i,
roulade, the
tering, flut-
roimd,
finger
subject.
played
be
may but
begin
with
return
fingering,
37,
reached
thirds
of
measure
must
at
of
assistance
the
by
scale,
chord
any
similarly,
on
the
and
meastue
hand
finger
with
round
3,
except
you;
triplets
chromatic
before
fifth
the
repay on
with
left
the
"wooden-
a
perpetual
excellent
an
Begin
of
notes
will 27,
makes
is
pretty
hovering
particularly
noting
finishing
insect
the
under.
lowest
care
of
settling,
never
with is
that
precision
obviate
can
give
course,
accompaniment
chord
the
fingers. like
of
enviable
with
note
every
mechanical
almost the
maze
scale.
of
board keydentals, acci-
The till the triad
broken
octave
forte.
Here
with
with
the
last
have
you
finger
two
sound
with
both
it
play
in
sixteenth-notes
make
and
102
sixth, C the
The
sharp;
trust
so
The
keyboard.
chord
the
on
will
full
of
the
pedal
desideratum
in
Use
87 affords
at
arpeggio,
104,
is
the
sharp;
the
at
seventh
dominant of
the
well
C
minor,
of
look
in
each
as
to
addition
chord,
to
well
as
and
is the
105
additional
The
memory
be
excusable
be
the
relative
the
beat
second
key.
tonic
the
first of
seventh
dominant
The
passages.
your
which
it would
brilliance
with
after
part,
Indeed,
add
triad
tonic
it
begin
"
accompaniment
times.
scale
minor
only
hand
tlie
one.
hand
E
the
"go"
step-like arpeggio
broken
is the
103,
left
slight ritardando
a
the
to
contrast
left
the
will
played
few
a
so
clear.
them
the
of
of
pedal
G.
major,
if you
as
instead
hands
difficulty, but
the
solid
a
interposed
each
on
thoroughly
well
as
to
F-sharp
in
needs
59,
arpeggio
an
comes
pages,
Solos
at
have
we
mastered
must
useful
cadenza,
supertonic
which
4,
The
of
Piano
Well-known
172
closing
these
chords. is the
Fluency I
may
difficulties, you The
mentally. after
study have
We
during first an
at
train in
or
Ed.)
of
reading the
boat
feat.
the
their
(I
have
in
music
be
would
and
would
play This
arrival.
read
this
piece
; but
technical
the
assimilate
pianists who journeys
on
of
complain
keyboard,
some
public,
exceptional
you
thoroughly
must
of
heard
time,
before
that,
say
this
playing
note
every
armchair,
the most
useful.
digest them
is, of
for
solos the
course,
of Rubinstein.
"
Second
Nocturne,
12
Op.
LESCHETIZKY E
have
here is
To
ideal
an
somnolent
writer
the
serenade
it
As
the
to
make
this
require those
moon
the
in
quality
translate
characteristic,
it
it
into
poetic
quality,
of
chords
is
It
hand
of
Padethis
with to
subdued
most
to
one
hear
to
able
be
able
be
Along
song.
would
compositions
joy
a
which
of
regardless
first
degree.
one
the
who
Few
be
that
demands
reflections
one
must
piano
ripples
stars.
piano.
would
a
boat
the the
the
the
higher
a
which
of
accompaniment
and
the
on
with
with
successfully
suggests
it starts
as
requirements,
"sing"
selections
rewski
of
piece
melody
a
shimmer
technical
this
interpret
which
always
water,
gliding silently
beautiful.
and
the
on
thing Every-
nocturne.
play
vety vel-
and
must
an
execute
them.
The and
first consist
which
is
of
measures
a
succession
mere
the
mood At
which
of
measure
at
giving
of of
the 19
once
assigned
are
out
characteristic
so
musicianship
the a
two
of of
the
for
performer, but
chords,
These
piece.
they
figure will
test
be
must
establish
must
hand
left
accompaniment
the the
the
to
or
not
"set"
composition. enters
suggests
a
the
melody clarinet. 173
of
a
"reedy" It
is
an
quality, excellent
Well-known
174
practice
certain
with
quality
that
pervade
the
this
it is
of
shifts back
and
accompaniment this
subdued
so
air alone,
it is not
Here
slowly; In
and
23
lines, would sustain
sharp,
it will
be
of
key Beginning be
at
melody,
which
will
In
69 and
of
the
last
90
bass
the
59,
but
and
a
tained sus-
very
wavythumb
the
of the
grasp
mony. har-
by
up of
tones
theme
Watch
a
that
is in
the
for
closely
E-
C-double-sharp,
and
studying
think
to
minor
they of
melody
without in
"rit."
let the
chord
the
as
After
monies har-
the ized, memor-
are
in the
them
harmonic en-
At must
92 have
if
begin
coda
the
F
the
appears
thought at
near
or
to
tone.
At
in
C-sharp,
be
the
begins.
natural.
should
in octaves
forcing
G-sharp,
familiar
more
measure.
the
Practice
taken
This
major.
easier
formerly seem
keep
A-flat.
played broadly,
the
firmer
especially after
much
the
with
Let
be
to
air.
tone.
carefully, and
by
accompan"dng
F-double-sharp,
chromatic
a
the
seems
night
G-sharp
of
B-sharp,
last
still
the
a
limpidly
as
the
alone,
arpeggiated.
melody
the
to
be.
marked
chords,
fingers playing
on
key
it should
by taking
tones
While
them.
not
it "float"
instrument
the
better
37
Let
unusual
be
the At
flute.
the
to
easy
to
apt
so
of touch
fingering, time,
left hand
24
melody
the
than
key
unite
which
after
tone-
hand
accompaniment
the
legato; then,
is
one
always
as
its proper
with
from
gradation
in
of
pianist.
young
forth
capital study
a
which
this
In
distinction
a
the
tion composi-
a
orchestra.
monotony
tone-color
fingers.
various
the
of
themes
of the
instruments
relieves
melody
other,
different
the
instinctively develop
we
way
associate
to
Solos
Piano
With
71
in D-flat.
beginning In
93
the
its trills
Liadow
and
dainty
rhythm, of
should
and
floats
Do
on.
them
Throughout
each
of
the
melody
done, better
of
the
unless
like
four
the
as
song boat
our
Let
measures.
have
you
well
be
kept
very
smoothly,
final
following
in
mind
that the
ornament
or
lightly, and effect
opposite
to
the
the
to
embellish
to
notes
with
always
used
oped, well-devel-
a
trill four
to
gracefully
the
steady
very
perfect quietude.
unless
be
have
they
in
accompaniment,
must
are
175
behind
last
the
leading
It
and,
left
sense
of
trills,etc,
melody;
being
piece,
turn
note.
turns,
away
trill, it will
eighth-note
notes
die
is
a
the
melting
gradually
hurry
not
about
bring
be
period
that
nightingale
a
Box
should
this
runs,
Music
The
"
fully grace-
would
and
omitted.
be
The
Music
Box
LIADOW The
front,
This
soft
real
a
imitation
witty
the
composer
pedal
thing
music
box.
touch
of
cheer
when
him
in
by
finding
the
to
more
places
as
the
set
a
Rubinstein, artist
friend
painting
in the
in his
work.
diminutive
a
have
the
on
this
to
notes
fine
the the
player,
could
almost
carried open,
and
little
thus
room,
deceive
to
music
surprised
playing
adjoining
an
Indeed, a
of
may
nearly will
An
person. him
so
maker
some
and
more
pieces
it is dedicated,
whom
coming
programs.
is
Possibly
is
charming
many
pianists'
the
school
Russian
a
box.
his
with
valse
the
imitating boy.
Maybe
mechanism w^ith
of
the
musical set
a
delicate
deceive
often
to
son,
a
box
it
blind with
going
to
Well-known
176 So a
should
absolute
the
movement
of
from
the
ordinary of
of
duplicate
time
be
the
the
the
notes,
four
the
two
run
as
such
a
dancers.
and
succeed,
the
jeweled
will
by
when
snuffbox
it in
5, 4, 2,
to
five
the
his
will
You
of
passage in
2,
quence se-
should 4,
2,
i,
it
key,
thirty-second end, including
mechanism
German
two
or
black
in
split
increased
i,
2,3,
a
tion, sec-
one
fingering
be at
human a
middle
trill.
the
on
in
is
followed
i,
trill should
eighth
its effect
running
the
in
but
yet
are
thumb
you
introduction of
The
as
the
; and
notes.
smoothly
tied-up
for
"
is bars
The and
measures
group
arises
the
difficultybeing
the
printed
piece
traction con-
melody
same
simple;
so
the
each
to
pretty,
page.
measures
each
easiest.
first set This
second
small
When
and
other
for
proves
little
as
nervous
across
the
fingering
Notwithstanding
5.
by
accompaniment runs
when
Two
two
same
obtained
composition
is very
by
sixteenth-notes.
by
the
"
This
measures
insert
and,
keys by
naive
tricky, the
very
same
implies
is best
side
the
this
looks
major,
D
which
the
to
melody
the
on
are
please
the
noticeable
measures
the
but
time,
octaves
in
in
charm
more
into
up
close
syncopation.
is still
easily acquired,
fingers.
the
another
But
is not
requires
Automaticamente
possible, flicking
as
it
and
played;
precision,
elbows
Solos
which
effect.
machine-like
by holding
be
valse
^olian
the
give
kind
Httle
light finger touch,
very
to
this
Piano
should
prince presented
favorite
capcllmcistcr,
motion.
probably the
recent
well
become visit
of
the
known
Pavlowii
from
its
troup
Veneziana
Regatta
LISZT HIS
is
by
that
Franz
The
of
Barcarolle
is
all
unprepared,
the
certain
Venice a
in
her
bell
deep
campanile rowdy,
ated reiter-
second
flags
At
a
59
by
cantahile
the
strong
of
each
measure.
With you
following
they
accent
regard
I,
in
a
have
we
old a
more
is
suggests
the
flutter
and
jollity;
and
kind
of
use
some
Venice
gaiety
fete,
en
for of the
figure
castanet
to
They
18
robustness, second
the
technical
each
begin
bright
are
its
to
fingers,
2.
on
particularly
not
appears,
good-humored
by
I,
is
to
contrast.
marked
3,
6)
(at 14) brings
theme
marked
all
"
from
here
Perhaps
(measure
subject
with
likes
come
but
water;
parts im-
associated
is
might
effect.
and
Mendelssohn
past.
the
clanging
which
which
note
innumerable
in
splendid
across
chief
the
melancholy
this
begins
diminished-seventh, a
him
pianists.
which
dissonance
settings entitle
alone
songs
gratitude
the
to
ments," "arrange-
whose
Liszt,
Schubert's
of
of
master
and
be
and
too
3,
^77
i,
fifth
same
2,
it
to
I
may
chiefly
2;
played,
mend recom-
with
6 i,
but
eighth-note
measure
quickly The
clean.
in
run
respectively: cannot
given
difficulties,
little
vocal,
at
the 8
use
provided
applies
to
the
arpeggios
in
and
the
start
in
subject and
giving
swagger,
of
pair
a
At
of
stretch
by
omitting
are
difficult
quiet fifth
and
hand.
finger, right In
each
group
and
the
left
of
three
In
D. the
phrase
last
the
only
"look
For and little
the
tenor
I, 3, 5 on
fit. in 92, I cannot
melody,
at
word
unusual
an
the
last
it will
97
leap."
"
73,
give
setting; bass
three add
use
the
a
good
i,
but
do
not
If you
and
zest
leisure
to
G 3,
and In
5.
finger,
and
like,
you
robust
to
C
notes
finger
any
begin
to
on
third
the
special
two
with
and
into
thumb
discomfort
asking before
pause
short
as
finger
with
with
notes.
character
without
sweetness
long
capricciosamente.
imitation
of
conclude at
you
the
interpret
it is such
thirds
before
the
phrase
jump
octave
39
short
requires
third
together,
each
in so
interest
on
use
notes
begin
double
points
beat,
three
right hand,
play
third
66,
notes
the
thumb
notes,
shortened
in
good
65
the
use
wide
transitions
a
Measure
hand,
be
unusual
bass
all
throw
ing clash-
same
tempo.
a
the
keep
59
tian Vene-
The
can
make
and
gesting sug-
dark
the
The
jaunty
a
manner,
the
35,
very
then,
40;
at
possible,
as
study.
the
of
cantahile
the
In
at
chord,
hke
dominant.
G.
note,
retard;
them
first chord
the
chord,
negotiate, being
to
Let
space.
hand
each
sly
find
we
it is the
lowest
the
of
beneath
eyes
martellato
new
smooth,
a
30
here
left
the
to
20,
measure
effect, but
bell
on
at
first
chord
if you
and,
zest,
sparkling
eyelashes.
a
with
way
The
crisp repetition
a
played
the
play
afterward.
demands
be
would
I
arpeggio
14
must
where
12,
Solos
Piano
Well-known
178
accent,
At
77
the
player,
forget
the
to
use
make
a
what
follows.
for
everj^thing
the
else.
slight
double
Liszt
Waldesrauschen
"
179
Waldesrauschen LISZT
of
and
Haydn and
melodies a
melody,
motif,
advance
of
future.
Yet
Liszt Forest
it is
their
The
first
subject,
full of discordant
beneath
by
the
a
fir
leap Many
feeling, and
supernatural
who
do the Romance
Whether
not
the
nimble
fancies
confess
to
shades,
the
for
such
ing record-
go felt
brown
when,
pine
even
fall of
this
lonely
dim
grow
light
nervous,
them.
feelings
to
the
if the
they
far
soughing
wind
long
surround
soon
some
is
with
Especially
evening
and
ear,
squirrel or
bear
away.
with
and
of
of
easily startled
be
may
cannot
hasten
darker
grows
One
that
sound
only subject, is
which
to
exterior.
charm.
the
listens
one
branches.
cone.
rugged
the
effect
and
a
desirous
say fret
which
tread,
to
sudden
the
we
the
typical example
pine forest, carpeted
soft
so
through
shall
notes
dark
a
needles
or
in
a
and
its power
of
charm
poetic
a
been
have
eerie, lonesome
that
give
such
nature
of
impressions
find
will
you
musicians
wonder
is
quite
music
undeniable
study
fabric.
are
ear,
the
forecast
This
is in
the
of
scrap his
weaves
to
often
; but
best
rustling
no
is
beauty. his
at
and
time
there
characteristic of
unfamiliar
in
instance,
short
a
he
rounded
no
for
as,
mostly
which
compositions
find
sections
but
from
often his
will
You
Beethoven,
or
classical
the
contrasting
harmonies,
His
unlike
Mozart.
no
of
sonata
quite
is
Liszt's music
cannot
Those pret inter-
"Waldesrauschen." is your
the
very
breath
imagination
of
peoples
the the
composition. forest
with
and
gnomes of
fairies, the
the
place,
sound
Whether
breath
of
the
music;
the
sweet
The
chromatic
the
threefold
inverted
but
lulls the
The
the
storm
feel
never
voice"
forest
the
fiery
the
will
when
into
w^hich
it is the
gives
subject. but the
bursts
another
repose. the
begins
seventh
first note
of
passage
its
inversion
At
is
amplified
comes
four
each
peculiar
which
very
is
is like
marked
climax
almost
Yet,
///,
one
fury
to
shouts,
the
a
here;
it is inexorable.
at
his
but the
attempts
snapping
in
of
long
brewing. has
no
great
sion, pas-
ing preced-
measures
to
and
the
storm
the
is
22
subject
nature two
then
unwelcome
again
veritable
the
away, At
the
and
fancy
can
in
have
of
pianist the
portray
branches
and
cited ex-
moniacal de-
their
contortions.
will
note
asterisk, where
something
sequence,
quite
half
it dies octaves.
very
until
second
full
we
are
1 1
studied
the
is
abound,
and
until
in
again
simultaneously,
Appassionato
writhing
13
ascending
agitato passage,
the
be
ear.
these
9
must
delicatamente
At
and
9,
Measures
out
threefold
play.
at
they
measure
theme
You
depicts
still small
"the
of
the
or
you
thirteenth.
sequence
to
preceding
its
or
out. through-
sighing
hear,
to
out
charm.
acceptable
to
soft
the
dissonance
which
cacophonous,
the
feel
being quite keynote
(for Liszt
gradually
melody,
eighth-notes
be
unmoved
you
dominant
the
is the
sweet
numerical
is the
The
be
soughing
with
wind
so
Solos
interest
convulsion
will
nor
high
study
the
cannot
you
human
breath
the
mighty
on),
later
of
branches,
uppermost
in
Piano
Well-known
i8o
like
the those the
pedal purposely mighty
noise
of
octaves
thunder.
held
down
should
There
till the
produce is
no
relax-
i8i
Waldesrauschen
Liszt "
of
ing
the
for
tension;
three
music
and
horrible,
simply
the
at
the
staves
be
may
music
horrible
if
is
reason
dictates. last
At
the
beautifully It
that
his side
were
is
said
of
undivided of
his
When
playing. to
always
hear
left
and
the
on
great his
was
soul,
mind.
Abbe
amazing
so
that
speaks
one
how
about.
so
heart
attention,
fortunate
impression
non-existent;
were
and
repose;
technique
his
that
Liszt
to
this
brings
composer
difficulties
sink
must
nature
even
he
to
with
Liszt,
could
the
give esthetic
those
that
who
is
the
Scottish
*A
Picture,
Tone
31,
Op.
2
No. MACDOWELL
is
able
which
will
is
this
is
which
stanza
have
you
if
recall
water,
musical
a
ever
happened
be
to
what
first
achievement.
MacDowell
been tide
the
of
in
there
at
lines
large body If
shore.
the
storm,
a
Heine's
these
a
on
has
of
read
page,
have
you
surging
the
characters
and
interpretation
the
on
appears
then,
carefully; of
as
soul
sympathetic
distinct
a
be
miniature,
a
scene
portrayed, And
Written
the
see
To
satisfy.
tones
the
here
Music,
to
in
paint
to
through
done.
certain
piece
a
Romantic
of
lover
the
OR
the
much
so
better.
The
first
of
rhythm The
first
first
thing
notes
the
to
look
tempted
to
with of
the
alone,
two
them
good
accent
of
the be
must counts
like
much
to
the
is the
first
measure,
one
there
is
a
calmer
a
that
young
players in
each till
"four," In
measures.
Practice till they
measures.
six
Count and
can
execution,
first
"one"
different.
In
in the
such.
six
it be
which
reading,
study.
time
on
in
great
a
measure.
triplets as
Then
portrayed
careful is the
accent
rhythm
treatment
slow,
Let
13.
the
to
difficulty
conquer so
is
that
beats
technical
only by
measure, sure
lull
a
simple
two
overcome
The are
with
at
of
rising
coast."
climax
the
to
tone
swell,
short
the
of
swell
great
the
depicts
certainly "rock-bound
the
against
wave
be
period
7
hand
each can
and
be
done
8
MacDowell"
fluently
at
happen
Measures
musical bass
tone
notes.
note
At
14
in
not
may
marking
says
in
first
the
the
of
evenly
bother
low if
you The
the
"one,
count
14,
the
between
second
the
"doublets"
The
those
of
(dotted quarter-
So, at
allowing
half
last
bit
every
not
beats
two
count
course
parts developed.
other
and
Of
extract
will
measure.
a
roar."
especially on
rhythm
the
chords,
on
misprint.
command,
of the
quarter-note come
which
and but
keys;
speed
dividing
two,"
the
your
beat)
the
to
"lash
must
13
at
the
metronome
right hand
of the
automatically,
pound
not
have
you
to
9
will
you
parts, allowing
the
sixes
the
183
first trial.
the
at
Picture
Tone
join
and
themselves
adjust
to
Then
pace.
left hand
of the
fours
the
rapid
a
Scottish
A
two
C's
octave
beat.
is
Here
should
be
the
murmurings
to a
eighth-notes,
of
quarters.
not
At
wind
and
From
here
surf, with
legato.
same
length
This 29
vaulted it
as
from the
adds
hear
the of
plaintive and a
distance,"
Gaelic to
scale
into
song
of the
the
gray
says
the
in the
distinct.
left hand
by
seventh
tone
quality.
wind
be
and 28.
at
Make
sea.
that
the
but
as
it is in
omitted, Let
the
"high and
the
the
Notice
Italian.
plaintive, weird
its
castle
the
as
possible. "Singing,
as
the
at
19-
where
well
as
lull of the
woman
at
and
notes
sextuple rhythm,
back
vocal
with
the
suggest
the
beat
four
notation
the
of
heard
half-measure
play only
but
#
to
plainly
part
the
here
from
drifts
window"
harmonies and
we
make
admirably
rail,
waves.
At
and
crescendo
hand
left
23
pp
rapid
formerly;
as
been;
six have e
At
to a
the
have
very
dim.
suddenly
drop
16
which
arpeggio
barely heard, though
even
At
this
40
melody of the
murmuring and
wind
the
of
the
faint
phrase
a
few
melting
be
held
bass
the
in
One
hint
the
to
its first
rendering.
the
will
wind
the
of
repeated later,
repetition.
part
should
chord
else
pedal,
the
do
and
not
Otherwise,
this into
have
reserved
its
on
an
in
waves
all you
put
something
Keep
When
interpretation.
to
as
rushing
piece, is
be
and
indicated
well
are
the
by
soft
the
arpeggioed
time
close.
barren.
general
effect, like
each
afar; and
peaceful
a
They
hear
we
71,
from
both
of
use
is necessary. where
to
surging of
the
till,at
echo
us
is lost in the
41,
point
an
bring
its allotted
sound
will
like
song
careful
song,
during
this
at
again portrayed
most
sustaining pedals except
From
chords
a
and,
away,
surf. is
a
Throughout,
melts
tide
Solos
Piano
Well-known
184
add
to
to
this
reappearance,
"tame."
seem
3
55, No.
**MDCXX,"Op. MACDOWELL
"Softly, with From
the
have
presented making
sunset, of
sea
of
absent
swing wave.
those showers
the
of
picture
for
port.
in
other
sea
of
a
the a
angry of
the
music
arpeggios, salt
spray;
vessel
the
golden
feeling
of
of
troubled
the
is
vessel
we
water
but, only for
No
a
stress
irresistible
the
mounts
and
was
regular each
feel, in
to
seem
of
hues
which
motion
Here
the
ously prosper-
gold.
but
picture.
proceeds
fly-leaf we
sailing
blaze
as
head-line.
the the
on
music,
recurring upheaval As
a
Under
are
gives
waves
the
in
a
heard
given
poetry
ship
and is
weather
roll
of
stanza
is
swing,"
ponderous
drenching
time, for
in that
"MDCXX,"
MacDowell"
fine
array
bar
it
is the
and
port
player few
It
mean?
they
what
text.
Yet,
what
artistic feels
them.
He
is
in
mind,
this
small
the
three
chord
of small
reach
9).
In
again
young
with,
notes
should Often
The
second
it in. notes
fifth
there
arpeggios
the
leave
case
The
best
under
the
fingering
for
five
"
third the
sharp
is to
keep
right
1 1
hand.
Note
the
measure
lower
note.
.
play.
to
is omitted
hand
Here
coming
D
fingers in
each
to
beyond
are
finger shoved left
chord.
awkward
D
thus,
exhorted
are
in
with
so,
notes.
duplicate
natural
D
the
fingering hand
for the
out
measure
few
chords
stated
the
G, B, C, the
be
listless,
a
country;
before, the
not
some
no
ordinary
with
these
undoubtedly
are
finger finishes,
similar
is
the
players
(see that
hands
observe
Please
In
such
in
ventures
quickly afterward.
have
notwithstanding
notes
read
to
The
mind.
in
walk
a
gestive sug-
title, "MDCXX,"
writer
over
such
play
like
play.
these
able
longer
no
the
into
writing
in
quite satisfied
which,
the
and
Over
is
seems
amble
more
the
bringing
of
possess
that,
different
quite
unintelligible
of
render
here
have
may
his
from
may,
program,
they
composer
performer
amateur
do
What
than
more
they
relief
the
something
had
chance
a
certain
notes,
do
to
way
instinct
a
coda!
imagination
the
to
reaches
ship
interpretation ; but, unfortunately,
own
their
of
out
left
be
a
side
to
in the
hear
we
must
put his
to
go
One
sounds
curious
What
side
from
gently
sways
like
almost
good
the
until
double
rolling rhythm"
unbroken
made
happily
185
3
the
at
overcoming,
"In
thanksgiving.
voyage
chords
common
triumphant
of
tells
of
song
majestic
of
55, No.
Op.
pencil
"
of four
group thumb up
"
begins, and
then
particularly
1
the
that
arpeggios
first four
it
could
passage
usual
Of
turn
over
should
notes
should
be
Rabbit,
B'rer
dividing
the
avoiding
the
the
The
page.
and
music
thus
over
This
splash.
a
by
down,
Don't bar
of the
thirty-second
the
held
the
When
A.
on
like
easier
much
pedal
double
elongated;
four
next
effect
surging
a
speed.
till the feature
a
the
of
loss
B, the
on
made
be
above
hands
wait
gives
Solos
irregular, being
are
begin
notes
played
well
is
Piano
Well-known
86
page group
at
foot,
of
twos
degenerate, and
not
sharp and
well
Op. 61,
No.
defined.
2
MACDOWELL Besides a
fund
drawing
of
of
readers
With
oflf until
run
often
have
which
The
the
gives curious
the
each
other.
where
this 19
you
must
humorous
and
This
figure
is
The
47.
feel
measure
two
with of
a
in mixed
first beats
stone
declines
he
his
high
a
to
comes.
will
he
hole,
seems
composer
frisky in
the
half-note
ienuio,
syncopated 3
important
played
the
the
to
group
is
the
marks
intervals
two
from
play
my
impudence.
turn
each
of
danger to
and
rodent
in
Few
dropped
whence
round,
this
have
away
MacDowell
End
that
from
look
at
tion apprecia-
keen
obstinacy
scuttles
fingering
attention. note
a
curious
he
outset
rabbit and
say,
exhibits
Rabbit.
B'rer a
sees
portrayed
have At
he
final
a
us
a
however,
When,
to
let
ground, him.
upon
watched
have
had
have
must
doings by
funny
will
vantage
he
dry humor;
the
sketch, MacDowell
clever
a
the
will fifth
third
occur
and
will
octaves, measure
measure,
subject.
arrest
your
finger,
and
alongside be as
helpful in
is 6, not
ures meas-
where four.
MacDowell"
there
Whether under
are
run
are
eight
Rabbit, Op. 6i,
be
preferably,
ten
or
be
lifted
as
there
would
shot
the
No.
in the
notes
should
and
should
and,
;
B'rer
slur
one
hand
right
Of
be
cleanly;
the
finishes
the
hand
pedal
no
they
group,
off
left
187
2
these
at
points. The at
second
part, in the relative
measure
first without
at
passage
The
(I
in
and,
as
in
have
used,
mostly
in
repeated notes,
off
the
twice
The
underground.
enjoyable
only when
with
scale and
octaves, the hand. less
C
speed"
time, and
A a
sharp,
in
studying
this
; for
may
you take
are
each
not
your
passage, to
learn
leisure.
tail,
is effective
and
seven over
to
; no
it in
of
hand
for
come be-
an
cending as-
three
natural, with
A
more
a
but
tion. diges-
notes
thumb
"the
if you
of slow
matter
scale
case
hit
cleanly played,
hand
descending
omitted
sharp In
from then
will find
you
a
cannot
eye
cotton
easy
is
sixteenth-
MacDowell
quite
only
notes,
the
roulade
it becomes
ously gener-
which
53,
white
his a
be
in
as
brilliantly and
the
examined,
with
Such
it looks,
as
If
wittily has
rabbit
vanishing
familar
How
pedal,
sometimes,
passage,
memory,
rating; exhila-
may
is it in
final
time.
the
measure;
from
played
scampering
absent,
each
strict
45,
like
should
more
measure
necessary
keyboard.
formidable
in
is
39,
in
become
hitherto
Most
be
the
been
four
grotesque
at
lightly,
in
studied
first),and
was
42,
subject
sequence.
must
leave
the
once.
and
40
would
48,
which
pedal
occurs
The
subject
finger staccato,
measures,
It
setting.
the
the
is best
octaves.
to
wonder
needs
and
chord,
usual
more
a
leading
with
frisky
which
in
37,
played
the
accompanying
"Puck"
Grieg's be
the later
measures
sustain
to
25
minor,
in
the
haste
circumscribed
left the
Well-knowTi
To
Wild
a
Piano
Solos
1
No.
Op. 51,
Rose, MACDOWELL
After the
"long
a
balmy
again
it blooms,
for
"Full And
"Sah
ein
adorned
gives the
little
waste
its
in
ein
redolent
by
be
petals,
Let
try to
us
You,
in
perhaps,
four
appreciate know
(In the
4,
third
how
phrases
measures,
measure
with
answered
rough
not
its
beauty
At
12
often or
your and
texture, wind
the is
or
perfect, yet
in
tone,
your
a
a
of form.
music
so,
suggestion four
figure slight
more
is
in four-
is written
groups;
by the
measure
eighth-notes.)
by
pedal
be
touching.
portrait, in
the
are
execution.
eight-measure
with
each
delicate
rose
bear
flower
frayed
grub,
Therefore,
awkward
nor
Unless
dahlia,
of
wild
with
not or
sense
tint, tender
in
pure
MacDowell
so
scarcely
little
Schubert
and
carnation
of the
will
this
simplicity in
form, yet
the
those
and
insidious
the
the
conveys
perfume.
alike.
two
no
at
all
air."
tender
in
perfume
unseen.
strains,
Perfect
pale pink
"
stehn,"
sweet
rows hedge-
and
desert
this
of, say,
beauty
composition
of
gnawed
off
feeling.
same
the
on
his
with
text
must
the
the
blush
to
Roslein
reproducing
playing
or
sweetness
readily damaged
So
is born
touched
handling; for, of most
when
Gray's
for
longs
one
with
like
part,
flower
a
symmetrical
this
how
summer,
besprinkled
most
Knab'
the
us
the
many
the
winter,
exquisite tint, texture,
Goethe
as
early
are
With
rose.
Just
dreary"
spring and
once
wild
and
of
here, the in
dominant tonic.
the
duplicated;
melodic
start
we
change
see
four
occurs,
MacDowell"
and measure
inverted.
the
This at
which
is held
down
point.
In
wild
189
i
tonic, with
the
little effusion without thou
At each
for
on
made
be
measures
of
with
measures,
organ
falling
the
and
gentle
its
locality
the
the
measure,
repeated;
are
in
25,
dominant
a
sisted in-
marcato
out.
used
should
four
slightly
is
being poco
possibly suggest
is
of
this
big G
Fugue
the
of
with
some
piano,"
the
play
minor
them, to
recourse
who
but
through the
printed
of Bach, who
and say
this sweet
carry
life, at
heard
grmdmg
people
young
learn,
can
have
We
genius.
of enthusiasm,
I know
their
tips, finger-
note.
likewise."
do
the
To
of
fruit
tyro
a
organists,full at
and
piece, which
easy
an
yet the
and
not
theme
the
theme
openmg
rose.
years
succeeding;
"Go
of
country
"do
the
measures
two
45
may
unhackneyed,
they
four
At
then,
for
with
be
may
feature
a
snap,
particular
away
in
gently brought
be
codetta
of remote
No.
55,
finish
which,
21,
for 41
final
Here,
of
measure
voice.
Scotch
inversion
heretofore
pedal,
the
section
should
bass,
tenor
measures
middle
the
comes
on
Sea, Op.
inserted.
5
Now
four
closing
the
the
To
55, No.
Sea, Op. ("Sea
1
Pieces")
MACDOWELL "Ocean,
"With this little
dignity"
manner
the
composer
is
of
more
above
the
performance. had
monster!"
mighty
printed
picture, and
tone
the
thou
than
the
first
injunction should One a
cannot
of
measure
doubt
denote that
passing acquaintance
Well-known
igo
with
sea
open
behooves
It
to
have
us
who
to
composer
the
in
which
those
are
is
composer almost
by
of
no
suggest, The
a
which
theme
"They
that
the
wonders
of
must
have
been
the
be
It would 7, and the
ordinary
the
dignity "Well
and all
well
of
this
good
important.
down
during
second worth
measure, a
pedal
the
the
ability
sea
of the rather
or
here
not
are
of
depth
chiefly by
these
wonders
men
in the
MacDowell.
see
deep" in
So,
trite
small.
or
in half,
measure
the
rock-bottom.
a
nothing
eighth-notes.
is the
complete
would
larly particu-
Otherwise, mutilate
until
the
itself.
mastery
Seldom
of
the
keep and,
measure;
fourth
instruction,
composer's
probably
very first
whole
for
extreme,
the
time.
the
He
in the
will, by impatience,
together"
effect
of
ships,
to
be
four
person
pages,
handling big
like
His
each
cut
each
young
impressions,
immensity
in
sea
words
there
to
count
bound
for
let
smell
own
express, is
and
Lord,
familiar
performance,
which
his
the
to
the
to
British
own
short
of
vast
which
down
ocean.
American
songs
the
of
strives
bass
own
two
It is
it is the
perhaps
go
the
it
this.
moods
composer
sonorous
of
successfully reproduce, like
and
on
instance
; another
grand
grand
But
small.
to
the
all.
us
piano
; but
has,
the
our
upon
lamented
sailor's
piano piece
everchanging
depicted
the
to
fine
means
orchestral
imperfect
the
small
draw
to
grandeur
MacDowell
this
inspiration;
efficiently. Our
sea
us
his fill on
gazed
an
piece
left
the
given
salt; but
sketched
this
been
portray
have
composers
such
illimitable
the
Solos
have
must
play
have
to
seems
He received
feel
to
memory
of
life.
seafaring
Piano
we
the
find
the
which so
is
pedal
during
quarter-note, do
pedal
many
is
MacDowell"
in
notes
measure
one
effect.
and
If
would
find
hold
not
being
reiterated,
measure,
and As
measures.
in
following
each
audibly
the
little
figure
in the
bass
natural,
and
again
fourth
easily
the
right
middle have be
A
Take,
ones.
voices,
alto
natural
and
well
to
keep
thoroughout the
change to
the
I
(this
; one
is
repeated
always B
end,
the a
the
is
where
in
the
the
last
and
It will
line,
reading,
three
never
to
ures meas-
"arrive"
not
strain.
chord, in each
Also
we
natural
D
the
stumbling-block).
double-flat
Incorrect
melodic
C, D
on
9, where
in
they
out
find
fourth
out
of these
until
way,
first seek
the
tempted,
descending
we
count
"
the
octaves,
on
flat,
D
together.
bass
pointing
from
7
flat. not
in
run
playing, but
in
measure
melody
the
Sing
refrain
does
player
down
kept
fingered B
the
together."
time
on
index-finger
measure
be
bound
be
finger
tenor,
your
note.
from
measures
should
flat in the
B
yourself,while
cannot
the
similar
pedal-point,
the
for instance,
and
stationary notes,
the
through
yourself; and, by
to
in if the
come
should
muddle
eighth-notes
notes
7.
mainstay,
a
go
"Well
injunction,
the
the
A
or
4
following
deep tonic
the
players mostly
Young
player
measure
the
pedal
the
measures
out
careless
a
may
of
the
exceptional disposition, during
sustaining
unbroken,
exceptional
is such
flat
B
pedal
the to
an
closing twelve
fifths
advantageously,
down
Even
9, the
that
once
ous sonor-
critically where
throughout
down
it
hand,
other
the
held
fairly obvious.
it
191
rich,
a
give
but
listen
be
not
may
i
outline.
would
only
or
may
would
On
melodic
the
to
drawback,
No.
consecutive
forbidden
the
no
student
a
pedal he
are
Sea, Op. 55,
here, giving such
as
Further,
octaves
strength
the
To
note
B
nine hand the
flat.
Spinning
Song
Without
(Songs
No.
Words,
34)
MENDELSSOHN
HE
Wedding"
"Bees' title
pretty
fairy"
piano
spinning the
voice
good
the
of
most
contrasting such
as
thought a
charming
To
play
which
still hand, or,
shall
of
each
casual
Even is
the
piece well, above
rather
hand's
years
absolutely
may
take
say,
the
here
no
ditty
when
well
The
large.
at
incessant for
a
Like
is
in
the
to
wrist.
be
of
rush
the
whirring
The
advisability
"go"
the
to
the hand
separate it
study
separate
a
continued,
this
make
of
light finger,
a
apparent
longer
playing,
necessary
have
must
necessity
should
and of
you
all, a loose
part
student; after
the
is
humming
world
upon
was
It
there
indulge
the
you
this
wheel.
and, we
might
many
music.
homely
a
of to
so
mind. program
just
borne
to
probably
collection,
and
is
melody
spinning
the
this
girl
herself
sixteenth-notes, of
"
young
with
pleased
in
lieder
the
idea
accompaniment
that
so-called
a
"airy-
the
appealed
has
be
Uttle
but
Mendelssohn's
of
specimen
this
piece;
as
composers in
for
might
or,
shall
most
better.
practice we
say,
"whirr"? All
the
sixteenth-notes
in 193
measure
3
must
be
equal
a
Spinning Song
Mendelssohn"
Do
continuous.
and
they
ideal; but, of
are
still
each
for
editions
3 may
have
thumb
thumb
with
probably 18, 19,
is all
20
the
first of each
the
left
At
26
measure
form
lets which
fingering you each
tenderly
The
four
owing
to
keep
finger
fourth
13
not
let
be
finger
first of
the
then
ardently,
the
the
near
come
notes
extra
you
are
its best
which,
easy
difficult, chiefly
fatigued.
Particularly able. is unavoid-
G, in 75, which
on
be
that, in slow on
very
are
73
becoming
it would
it, so
chord
chord-
Whatever
quite equal, unless
all
from
hand
the
may
them
keys.
metronome.
Perhaps over
do
62
the
on
will
you
lift
young
many
piece.
first chord
17, on
pairs; and
on
accent
cross
second, and 60,
in
So
in the
the
Grasp
measures
is the
the
practice dwell
pairs of slurred
the
will
slurring in
"dawdle"
feature
played
The
rests.
to
to
note
At
but
with
playing
broken
a
the
caress
you,
worry
mark
such
effect.
desired
weak
come
chords.
two
fingers
we
use,
the
at
cut
the
procedure
slurred
notes
All
this
slow
In
begin
be
may
and
16.
measure
important.
their
;
measure
2.
3,
5,
most
may
10
fourths
note
of these
allow
players
with
two
no
instance,
Measure
broken
in
clean
hand
E.
or
under
you
repay
F
in
each
on
For
fingering,
figures
descending
board key-
that
take
is to
course
hand.
on
alternative
an
best
the
individual
the
to
sistent per-
the
at
fingeringscurrent;
different
; and
agree
suited
as
well
most
note.
several
are
;
eighths and,
staccato
5-6 require the
in
here
dots
staccato
searching practice. Look
and
There
the
course,
sixteenths
the
more,
the
mind
not
193
well
to
pencil
practice,rubato, At
behavior.
enough
in
76
in
a
tenuto
this fourth we
itself,must
have not
a
be
I would
"rushed." a
slight ritard
is
It
and
45.
43.
41.
The and
title."
Ed.)
12,
14,
left hand
But
tied
the
were
in 88, left
note
with
plucked
a
crisply.
out
Songs
Without
originally being
without
few
Song
rest
practiced
be
any
perhaps
lenient, if the
chords
but
named
fingers
83; for hardly
should
92
Spinning
the
practice,
tired
the
correctly.
Mind
at
the
(Mendelssohn Words,
see
often
be
would
roulade
still hand,
measures
note
cleanly played.
hand.
of each;
how
sixth
himself
and
in
figure, measure
the
plays
Mendelssohn well
hear
to
left hand
the
amateur
end
slow
recommend,
76.
amusing
"cook"
even
the
at
Solos
Piano
Well-known
194
the
of
Spring Song No.
Words,
Without
(Songs
30)
MENDELSSOHN The the
story that
of
surface him
the
and
of
away
his
with
then
Songs"
promise, that, air which
This
in
this
and the
feeling only
gentle of
feeling
always
one
flow
is
accompaniment
no
of
blithe
bears
upon
the
You
song,
first with
than
more
from
one
by finger
yet, either
full of
and
there and
sophisticated
perhaps
picture
may
from the
is
a
and
hope all
We
exception.
perfume,
musically
arises
the
melody.
new-born
warmth,
the
upon
piano,
and
other,
was
song
children
little tormentors,
the
are
young
the
this
to
probability.
the
pedal, sustaining "Spring
of at
composer
impress
pushing
hand or
the
accompaniment
invasion
of the
outcome
privacy
the
agree
certain of
sound may the
open
birds,
appreciate. pretty
melody.
peggio ar-
Mendelssohn
As
in most asked
are
of the
play
to
with
other
The
left hand
octave
and
the
measure
then,
the
arpeggio
the
tone;
the
parts:
first, the
cantabile be
cannot
in
melody;
be
plete com-
too
full
brilliantly,though
too
be
cannot
octave
bass
in the
cannot
the
hear
to
combined
arpeggios
the
delicately, played;
between
distinct
The
it in
disturbing
Try
two
you
it partially
accompany
chords.
accompaniment. of
Words,"
broken
little
and
to
is divided
work
three bass
and without
right hand,
the
195
Without
"Songs
melody,
a
least.
each
Spring Song
"
lightly
too
touched. A
small
down
each
in
black
pedal
may
the
you
should
little
therefore, eye, bear
as
having
note
upon
second
the
note
will
A
be
times, then
without
broadly "
the
Think
hand
off.
It
left hand
three,
measure
is is
chord
This if you 3
is
final
the
the
melody
in
separate
measure,
say,
finally consecutively, may
can
let
crisply out,
plan,
of each
eighth thirty-
begin,
you
good
arpeggio
small
the
plucked
twice, and
notes.
little
requisite, or a
and,
criticallybrought
than
and
no
It is
notes.
disturbed,
of each
slowly
this, that
so
larger printed
brilliant
firmly; and,
^for instance,
be
must
the
not
steady
bass
the and
touch
of five be
important
more
shoved
practice, to play four
and
be
harp.
a
tone
the
So, however
notes.
accompaniment like
if
slip off;
to
third,
the
to
fifth
the
Besides
rescue.
group
question.
any
the
where,
chord, is apt
hold
to
attempt
first measure,
It
melodic
this
the
major
risky.
finger
that
ear,
A
to
come
equal notes,
being
as
in the
the is
key
in the
doing
use
to
of
change
is made
in
handicapped
key, for instance,
the
on
but
break
is
first inversion
the
finger
hand
be
done
identify
supertonic,
measmre
each
quite chord 5, the
Well-known
196 dominant
seventh
it, and
the
There be
glad Make
first
the
time
same
left
for the
crisp, while
chords
which
be
than
The
different 29
D
is less
33,
of
the
first
the
On
last half-beat
be
the
executed
as
a
the
to
a
the
the
tones
it
were
frequently finished
less to
sound
the
same
in
its tones
30
B
melody, understood.
and
tonic
note
chord the
of three
notes as
a
panied, accom-
"
of
chord
E, the
of A and
B
its third
on
connectedly
and
the
26,
all the
passing
seventh
measure
single group
smoothly
of
of
staff, and
treble
treated
with
In
other.
is
melody
its
measure
so
compared
diminished
time, with
below
the
be
must
time,
second the
hand
one
cute exe-
light and
instant,
nor
accompaniments
and
sharp
of
those
of
them
note
to
melody.
same
the
full with
that
artistic
the
very
those
The at
heard
and
the
heard
has
before are
mention
to
exactly
be
in
as
allowing of
before
measures
The
editor
the
of
precisely the
at
Nothing
chord
a
well
as
sparkle.
round
out
will
24
not
should
part
a
superfluous
the
bungled. playing
as
sounded
that
A
sharp sings
follow,
seem
should
and
hands
29.
often
so
ory. mem-
27,
sound
and
A,
note
sharp G
at
play
you it to
small
i,
amateurs
as
value
tone
of
F
the
proper
it would
bass
hand,
The
it.
not
the
that
should
will
commit
you
measures
mordente
this
as
will
ornament
pretty
of
note
at
as
better
chords
certain
shorten,
Solos
the
safer
and
are
to
much
so
"
sooner
Piano
and
sharp.
D
sharp
line should should
be
ment light embellish-
A, regardless of their being printed
on
arate sep-
stems.
Measures over are
a
each
35,
pedal
note
enriched
36, 37
E.
on
by
have
a
the
melody
Measures
full chord
39, as
and 40,
harmony 41,
and
accompaniment
42 to
Mendelssohn
Spring
"
the
last
of
notes
which
leads,
be
done
its
close,
to
its
instead
character
47,
into
with
elegantly, the
At
58
in
notice
the
first
that
"clean"
service
(The
piece,
;
but
that
title. was
at
given
59
inversion
throughout
necessary
the
used
so
much
student
by
Stephen
the
on
a
bass at
is
tion, modula-
remains
it
on
The
10.
has
tonic
Compare
lends.
the
Song,
Spring it
it
original
the
establish
to
color
must
toward
of
seventh
minor
the
which
return
fleeting
too
beautiful
of
a
the
for
ear
development
a
ritardando
slight
a
sixteenth-
cadenza
pretty
a
into
melt
four
begin
be
should
should the
43
motive
melodic
50.
also
At
197
chords and
follow.
appearance,
but
9;
their
prepare
at
makes
with
at
quite
theme,
this
first
the
These
melody.
which
harmonies
the
notes.
in
organ-like
quite
its
their
of
tone
Song
pedal said
been
referred
wedded
Ed.)
Heller. "
is
about to
inseparably
A
other
to
Venetienne,
Esquisse
73, No.
Op.
1
MOSZKOWSKI
E
solo,"
has
doubt,
There
but
assimilating is
good
often
not
music
is
placed
well classical
the often
necessitates
measure
56
In are
but
mood; the
thirds
flutter
that
contains
will
the of
help
the you
At
measures
boat to
3,
the
will
strong 198
in
be
measure
the
in
with
lost.
merry
voice.
phrase half
else
or
we
Italian
melodic
the
7
eighth-note,
movement
feci
join
to 5,
and
typical
a
the
custom,
joyously
have
in
as
gondola
the
sunshine
one
i,
preceding
the
we
35
induces
which in
feel
and
and
key,
is, by
itself
asserts
twist
and
key
under
sharp).
G
water
minor
is
like
well
black
(on
86
the
the
flags
sixths.
melody
Note
charm
and
major
of
in
or
work
fashioned lie
the
on
sketches
the
and
vocal
flat)
B
present,
ever
see
(on
Venetian
all
thumb
the
it
reason
sudden
a
in
Moszkowski's
and
exacts
poser; com-
task
where
always
Moszkowski
but
hand;
the
this
keys.
clear-cut
passages
to
For
the
passages
the has
difficult
a
style,
on
enough,
whose
Mendelssohn,
often
modern
the
study
poser com-
on
several
enough
idiosyncrasies.
these
to
has
student
the
Each
are
fluently
came
much
Moszkowski
and
many.
it
mannerisms
some
keyboard
no
in
material.
instructive
tive attrac-
an
find
will
you
"well-known
a
being
besides
but,
piece,
which,
this
call
hardly
can
The
accent.
the
pedal At
8
Moszkowski
begins
a
which
group,
Count of
middle
writer
each those
always
arrange
the
first two
printed
the
third D
on
; at
The
melody
broadly twice
in each
octave
scale
except
the
scale
been to
of
and
in
We
now
scale
The fourth
to
come
and
on
the
F
to
four
to
but
me
sustain
the
coda
note;
page.
In
notes
add the
the
the
is the
61, has
to
of
top tied its
out
(which
word
a
threecount
Finish
54
very
indeed,
each
to
passage,
with
warning
note.
passage
of
bined com-
86.
measure
easily played by crossing
the
be
each
flat chord
let
; and
to
on
bass.
must
B new
arpeggio
in the
C
on
same
left thumb
put your
three.
to
sharp
26
is
key
simpler.
the
use
have
the
The
chord,
pianissimo
same
how
of
change
something
four
put
will
attack
player
first
pedal
53,
supertonic).
young
in the
ing third, includ-
the
mentioned,
all down
already noted; the
with
last, which you
finger
before
35,
A,
the such.
many
Play
third, and In
fifth
measure,
before
flatted
and
sixteenths.
played,
course,
determine
to
suggest
first
at
are
succeed.
the
at
would
the
use
33
the
time, and
eighths
five
third
notes.
fingering I
of the
and
eighths
the
is, of
the
if you
will
middle
accenting
there
three
over
you
turn
begin with
21
trill
with
advice
usually spoil
not
are
the
on
measure,
experience
the
felt
played
Such
trill notes
"far-fetched." At
in the
repeated,
They
be
be
difficulty;but
a
printed
The
threes
who
to
hand,
the
is to
from
come
of the
which
measure.
knows
now
each
two
for
intended
should
199
times
seven
maltreat.
slight accent
a
of each
finger.
often
players
triplets,but
We
of sixteenth-notes,
figure
young
note
Esquisse Venetienne
"
has the
the
only last
hands.
one
chord
fingering, the may
be
more
Well-known
200
Piano
Etincelles, Op.
Solos
36,
6
No.
MOSZKOWSKI This and
is
is
certainly
hearers
The
who
between device in
and
left hand
the
the
sight
by then
four
is
65 the
little
the
group
note
of
the four
semitone
a
for the
in
the for
At
next
I find
31,
is
part
noticed,
neglected.
30,
ure meas-
it pays,
demands
the
end
noting,
hand
widens
the
eye
than
the
three
ascending
on
note.
itself, so notes
swered an-
of
measures
are
major,
as
keyboard
thumb
four
measures
F
on
subject
stationary bass;
with
by
sixteen
four-measure of
measures
starting
These
it left, the
continual
alto
be
following
answered
the
measures,
eagle.
measures
worth
left
should if
old
an
flat repeats
B
position,
find
key, but
the
suggestion, but of
an
We
bass.
watching At
odd
examine
four
well
points
difficulty
change
;i;i.
another
This
an
is
is
falling
hand
divided
passages
there
"
fingering in
right
little
measures
modulating in
seem
now
at
the
else.
eight
finger, right hand,
flight of
us
The
seventh
The
the
fourth
and
phrases
28
to
sudden
Let
minor
; such
add
; it may
for
in
note
all
retain
the
key,
anything
marvellous
some
difficult
are
class
speed,
to
an
that
garland,
a
incentive
Fantasia. 25,
before
like
invented
exception).
the
alternate,
they
who
with
of
change
technique
an
Chromatic
beginning
(note
as
piece, As
pianists, it satisfies
interwoven
hands
of Bach
this
of
"bra\nira"
a
astonishment.
cause
best
our
run,
the
to
think
brilliant
is called
what
apt
played by
encore,
of
distinctly
the is
repeated dominant.
better
printed to
ployed em-
music.
speak;
begins always
the on
Moszkowski
Measures
The
and
88
it is too
hand,
four
the
The
of
chord
readily recognized
fifth
and
finger
s
and
modern
the
along.
At
flat, more
best
to
way
C
on
is in
left hand
liant bril305
thumb
way,
with
At
C
supertonic,
flat; the
B
on
all
D
omit
long
effective.
on
ened, short-
281
at
The
very
major;
B
as
it is Moszkowski'
finger
made
flatted
the
reached
sequences.
finger, right hand,
third
is the
319
be
can
297,
be
to
flat and
B
on
right
exacting.
are
have
thumb
difficultyis
real
106
may
201
i
thumb,
no
105,
109
the
of
acme
two-measure
the
in
keep
case
cadenza, use
Measures
No.
15,
difficult; use
are
left hand
in
in which
E flat.
96
clumsy.
stretches
the
Serenata, Op.
"
flat
extended
fingering. The not
too
useful
very
from
notes
piece
for
off at
high speed,
perfection of precision However have
soon
a
one
which
fingers
Serenata,
of its
envious
of
the
emulate.
never
tinkle,
a
player;
piano
can
ingless mean-
makes
It
quite
are
keyboard
the
anvil.
grows
in their
place for it
off
mechanical
gets tired
one
fly
may
the
; there
Superficial and
blacksmith's
a
excellent
reeled
technically
one
studies.
the
music,
sparks
most
a
staccato
many as
like
is
study
pianists
most
repertoires.
15, No.
Op.
1
MOSZKOWSKI The
Italian
literally,fine
weather
night.
summer
(says
word
Hence
"
Grove's
applied, by general consent, his
lady,
beneath
guitar.
her In
especially
more
the
window,
Dictionary) "serenade"
term to
of
that
the
song
of
accompanied
Moszkowski's
means, a
has the
by
example
calm been
lover the we
to
venient con-
get
Well-known
202
simplicity,
melody
in
sensuous
guitar-like accompaniment
"lied
is called
what
of
thousands
Like
and
theme, to
short
pieces
such
been
formed,
it
would
your
order
is
in
each
hand
alone,
not
raise
the
sounding
efTect
page,
grace the
capital
detached look and
notes,
melody.
notes
up
your
an
much
beneath.
6, may
be
grace
demand
before
broadly
full-
melody
of
happens
to
make
The
18. as
the
or
leave
we
played
the
over
here,
and in
the
attention
the
notes note
weak
good,
a
whatever
thirty-second the
finger
demands
make
But,
strike
is, generally
pedal
17
sweet.
you
make
stream,
even
especially in
At
and
placed
10
whole
the
little
marks
and
which
pedal,
when
the
be
must
clean
treatment
not
blurred. in
and
appear, 9
use
the
thumb
the
the
they
Measures
be
with
"tenuto"
the
tone.
would
bright,
a
course,
a
page,
quarter-note
here
wherever
sixteenth-notes the
follow of
Practice
clumsy,
part- writing;
the
then
You
makes
the
on
it sounds
until
and
Respect and,
all
measure.
first
but
uncertain;
reverse.
for
Serenata
the
once
words.
the
Remember,
note.
speaking, strong
notes;
has
they
rule, that
deftly caught
left
thumb
and
habit
memorizing.
by
like
note, and
twice
Do the
bass
touched
used
page,
this
of
piece.
first
lightly
When
very
form
the
relationship, excepting,
being attractive,
teaching
examine
fixed
no
adds
It
if you
in
governed
are
Besides
The
useful
key
of
which
songs
is
contrasting
a
repeated.
this.
as
although
see,
certain
theme
in
it is written
theme,
a
the
nature.
pieces,
viz.,
appreciation
much
to
short
form";
and
expression,
true
other
first
the
Solos
Piano
a
this them other
part
of
Moszkowski
After
double
the
if it
in
were
hand
left
for
over
but
do
finger
on
the
that
you
At
melody.
In last
with
its
in
three
moving not
cadenza,
is the
30,
for
the
the
ending
have
note.
been too
brought
before
note
very
For
mentioned; many.
until
the
in ; and
is tied
notes, to
the
leisurely, not such
a
short
but, from
look
so
The in
40,
at
the
the
in
a
subject.
lightly (note A)
forgetting
the
and
the
thirtypoints
numerous
experience
27,
The
indulge
may
following
piece,
lastly
A-sharp,
of at
tice, prac-
triads.
reappearance
bell-like
for
dissonant you
the
where
beginning
scale; the
looked. over-
chord.
each
to
the
to
and
twice,
inverted
the
chromatic
note
octave
grace
marcato
second
is
ritardando
Play that
each
pedal
tion atten-
your
repeated,
eighth-notes,
at
pianissimo,
molto
none
then
especially
keyboard
generally
times,
easy,
notes,
are
four
tice prac-
bass
justice
chord,
of
Further,
begins
E,
on
doing
be
place
thumb
from
notes
over
"
and
might
groups
fingering
that
a
Practice
them
of four
with
giving
beat
intervening
notes
the
ure Meas-
second
time.
each
regular order,
taken
the
group
before.
the
and
ended;
one
are
each
poor
the
tied
the
a
same
diverted 22
21,
24
the
the
as
study
to
clearly.
in
ginning be-
juocoso,
slower,
note,
grace
without
be
not
use
remember
may
may
not
at
chords
four
the so
keys
their
touching
neglect
out
203
welcome
notes,
somewhat
contained
thirds
and
double
stand
i
harmony,
suggested
as
to
and
not
is taken
again,
little
the
do
No.
15,
fresh
as
The
pedal
thirds
the
hand
right
and
with
Op.
melody is
but
handling;
alone,
chance
the
key.
new
rinsforzando,
21,
the
a
firm
require
bar
subdominant,
the
on
Serenata,
"
as
a
teacher,
from
Menuet
E
Flat
Mozartian,
taken
Symphony
in
MOZART-SCHULHOFF HIS
truly
menuet, from
the
for
arranged of
one
which
piano
few
the
well-defined
courtly
the
hair
it
yet
time
genuine
requires
Throughout,
justice. grace;
it
pupil,
there
must
be
So
a
of
time
repress
its
do
dances. third do
to
it
abound
must
Our
in At
dignity.
no
parents great-grandin
things
boisterous
your
slippers,
ability
haste.
to
in
advanced
an
musical
preserve
in
gentlemen
stately
movement
feeling
took
always manner.
the
always
must
of
up
ladies
as
and
their
reach
the
and
calls
silver-buckled
through
within
Technically
With
rhythm
when,
silks,
and
mosphere at-
an
instinctively
past,
breeches,
courtesied
ancestors
grade
the
flowing
and
satin
perruques, our
of
scenes
powdered
mind
one's
melody,
into
stately
is
form
ballroom.
the
its
of
flow
the
and
in dance one
carry
of
minor
Schulhoff,
by
classics
really
G
in
symphony
proper
a
feelings
for
other an-
mood,"
so
occasion.
The to
first
speak.
In
Take and
stroke, 4
the
beat,
observe rests
the
Let
emphasized. a
in
while
of
phrase
have the the the
four
first the the
rests
melody,
"sets
measures
of
beat chords staccati
each
with of
religiously. the
on
accompanying 204
last
the
firm
a
2
be
measure
and In
9
half
harmony
well not
grasp, 3
and of
very 10
the
is
even.
notice second
sustained
off
slurred
and should
be
second
beat,
gently
to
which
should
be,
firmly
Drop
Measures
repetition, takes
of
process
the
release
to
At
sounded.
At
style.
from
air. are
45
double
bars
but
be
accompaniment
At
and
the
dots)
ral, B-flat, very
evenly,
of
the
on
for
the this
measures
between
C, B-flat, A-natuof
half
last
violin let
and
repeating
will be
turn
best
eight
if the
66
motive
beneath.
background
instead
twice
printed
slurs
is
note
little
the
in
the
out
58 (itwill be
Be
each
sing
subdued
a
immediately.
is sustained
must
carefully phrase
Very
charming
melody
bass
principal
out
in
the
the
as
harmony
the
while
trio
the
45
note
grace
carefully phrase
39
eighth-notes,
F to follow
treble
the
allowing
octave,
a
Touch
and
C
treble
the
with
exactly
note
grace
w4th been
has
cadence.
new
a
on
without
legato,
which
first theme,
the
37
are
finger
the
let
pure
are
24
touch 22
promptly,
it
leave
and
23 At
slight ritard.
and
second
the
staccato,
and
21
and
first
the
on
the
similarly.
finger
a
of
notes
two
of
mostly
possible, with
as
first
the
Notice
touch
far
as
17, is
at
glide
one
is treated
14
period, beginning
jerk.
of
Measure
measure.
first
the
and
beat
the
on
; then
motive
slurred
a
second
lightly
sure
begins
which
chord
the
emphasize
205
beat,
third
the
on
13
following
the
slurred.
the
it
since
(snappy).
a
In
quite light.
succeeding The
chord
the
to
Symphony
from
Menuet
Mozart-Schulhoff"
the
second
beat.
Carefully it.
demands
played,
but
all repeat
observe
allowed
to
neglected by and
neatly.
desirable.
Most
should
all rests
Also,
be
in
amateurs.
reliable
marks
"
Use
editions
"form"
scrupulously
be
silence,
classic
a
the
feature
too
not
quently fre-
pedal sparingly
indicate
it wherever
Melodic,
2
16, No.
Op.
PADEREWSKI HIS
is
piece
if
constructed, in
word,
a
The
is
form
repetition,
enriched
work,
imitative
again be
at
begin
to
The
touch
with
the
possessed First, way
in in
which
fingering
of
permit legato.
played
pressed
as
of
velvet; So
with
have
fingered
only
the
a
in
theme
which
may
for
slurred
sonorous
notes
is
marked tone
ao6
the
sonore
such
as
ing noth-
at
19
is
object
left
hand
and
may
described
for the
Yet
the
"
of
himself
leaving
hand.
instructive
felt
painstaking
places,
large
a
boneless be
the
tone.
the
two
or
a
who
fingered,
that
of
should
full
and
is
part
with
Thalberg,
one
is
melody
big,
with rich
the
fleshy
keys
the
been
measure
upper,
The
ease.
cantabile
though
rich
has in
this
golden
more
and
appreciate
although is
its
coda
the
wrote
you
work
the
doubt; it
be
keys
would
I
instance,
to
by
extraordinarily
an
still
opening
the
notes
struck."
than
ingale night-
phrase,
measure
developed
for
the
fingers
and
rather
of
out
the
53.
required
"kneading finger,
at
the
to
artless
cadenza,
the
to
highly
a
with
section
middle
a
of forth
pours
eight
an
lasting
with
37,
said
hand
follows:
as
form."
readily
song
unbidden,
prosaic
so
"song as
the
which
notes,
use
may
comes
as
composer
we
familiar
the
here
Melody
strain,
long mellifluous
one
to
be hcre-
Paderewski
tofore, taking The
all
it sounds
until
hands,
for the
one
At the
ninth
not
The
easy.
shows
of the
is in left
strain
showing
3,
the
is
of
notes
time
in
imitation;
hold
of
the
melody 41
tied
the note
of your
with
tone
reviser
break
way a
melody,
is
i
at
13,
ward for-
carrying
to
again
without the well wavy
but
with
page,
full
slide
the
At
keyboard
is necessary;
The
about." at
49,
left are
forte
hand
is
nence promi-
he
you
a
your
At
tone.
is not
thumbs 43
companying ac-
till the
strong
two
this
new
lose
or
careful
how
us
one
but
equal
it up
22.
measures
slacken
keep
at
and
a
23,
ing mean-
ritard
of these
not
at
my
appears
with
the
also
see
a
an
mark
eighth-notes
ten
striking again.
line,
will
you Make
Do
shows
legato melody;
but
of 20,
notes
left hand
the
over
est inter-
later, in the
If you
play smoothly,
33,
added
sequentially treated,
theme. in
rhythm
same
the
same.
tenor
of
The
upper
returns
the
lo-i
measure
instead, there
theme. hard
a
pencil,
is thrice
27,
the
the
passage
at
to
from
taken
the
but
first theme.
quarter,
particularly
the
red
a
the
following
not
the
three
ment. accompani-
accompaniment,
mere
and
19
imitate
no
albeit
with
preferably
The
imitation,
melody,
and
had
measures
19, with
at
great contrast;
no
This
additional
24,
you
is the
important
begins
canonic
hand.
melody
in
finish,
to
appears, of
deserves
start
the
slurs.
tone.
second
at
part
execution
all
how
for
two
sliding fingering
again
you
The
The
the
to
though
as
and
obbligato
measure.
from
pedal,
207
2
is difficult and
easy
melody
an
10
and
free
as
the
No.
according
through
alone, with
studied
be
it
phrase
to
care
accompaniment
to
as
Melodie, Op. i6,
"
on
good
"must
chords,
difl"cult; also
to
the mand com-
know marked the
con
Well-known
2o8
passione
will
measures
and
strength
melody
at
practice before
obtained.
When
made
comfortable,
been
calando
the
Solos
require
are
has
accompaniment final
Piano
be
must
the
leaping
in
played
dom free-
the
75,
Thal-
with
touch.
berg's
Minuet
in
G, Op.
14, No.
1
PADEREWSKI welcome
How
by
the
His
when
composer
inimitable the
to
if
little
artist
great
effect, which
would the
suggested
took
It
The
turn,
which
same
five
notes,
with
the
down,
second
be
the
in
and
As
necessary.
beat, and The if
back
is such
a
C,
the
dotted
anything,
group
nine a
words, out
note,
enters measure
second
too
of
Mozart.
of the
in each
of
than
case
shortens
even
value
time
or
up
very
the
this
ten
and
it goes
"perfect of
after
peruke
time
notes
more
rule, impatience
turn
let the
cases
no
its
begins
all
of
stately tempo
whether
must,
taking
other
It
played,
work
here, consists
C, B, C.
D,
the
the
straining
The
the
feature
and
that
with to
finger, and
In
quarter-note.
kept,"
one
toire, reper-
Those
memory,
it.
ballroom
their
to
master.
No
simple.
spoiled
rhythmically
and
length,
have
old-time
powder.
still in
yet be
could
the
country. thousands
by
piece
played it, showed
he
as
devotees
imitate
to
trills remain
antique dance, a
his
played
as
this
to
came
fashionable
possible,
and
turns
first
sent
this
add
to
minuet
charming
he
playing
piano and,
this
was
of
must
be is
warning the
a
second
soon.
7, is "imitated" dotted
note
be
longer
at
8;
than
so,
the
Paderewski
The
first.
at
crushing note;
the
a
down
from
black
the
the
first time,
the
effect
is
and
following; yet
the
Play
often
six
chords
the
often
chords
erratic, they and
seventh, bar
there
Do
not
D
break
it way.
The
is
pedal
absent
learned
at
by
pause down
note
enjoy At should
but
have
only
one
should
be
we
tone
the
double
14
bar "with
even
then
a
at
bell
players have
run.
in
each for
the
of
the
The
tightly
down not
six time
time. held
sinks
more
the
end
and
do
is best
are
a
an
it should
ear
very
a
double
octaves
notes
eventually
players
melting
played
; it
an
the
the
help
with
Cadenza
down
like
will
the
repeated,
until
so
fore, and, there-
At in
of
out;
major
the
into
two
rule, young
older
A
creasing in-
of
tate premedi-
wide
The
key
sake
we
28, and
at
are
struck
impatience a
with
last
care
the
be
The
certain
passage
and
tonic.
marked.
take
without
the
eighth-notes
feature
is not
pedal
finished
minor,
E, which
on
but
As pause,
new
measure,
slight ritard
thoroughly
lower.
to
the
for
here
octave
rather
away
until
32
right hand, cadenza
a
getting
octave
E
slip deftly
always
for
the
a
are
are
run
nor
again
beginning
notes an
major,
8
1
twenty-four
are
amateurish
be
at
im-
the
properly
perhaps
17;
word
till this
overlap,
to
the
used; for instance, 16,
slightly at 16
209
must
are
would,
of
i
as
say
there be
some
seem
of
The
matters.
but not
notes
intentions
our
wait
not
No.
is marked
pedal
I will
it
use
be,
only
can
14,
finger
The
it should
sonority, 24.
Uttle
marked,
where
where
measures
if you
and
Op.
should
9
key.
delightful.
except
20,
in G,
acciaccatura
pHes,
used
Minuet
"
matically. chrovalue
restraint
a
and
away. Paderewski
force," which
directs
the
really means
melody here,
with
voiced,
full
a
singing
The
pedal, although
bass
note.
The
page. 4,
;
2
of
ways
trill.
melting
with
notes
making
but
on
melodious dotted is
to
slow In
always
thus
be
The
best
way,
measures
be
(which,
by
out
in
133
of
groups
would
134
the
to
is
note.
The
take
is first
the
The and
added
not
to
with
the the
sixteenth-notes in
trouble,
each is to
fingering third
trill. did
played
;
tional addi-
two
rallentando
five, five
four,
them.
shortened or
coda
as
The
minuet.
Paderewski
chain
be
must
one
modern
a
trill
finger and
and
mountable, insur-
somewhat,
; that
the
of
trill,
the If
impatiently
way,
printed
if you
and
of
quick,
difficulty
halt
to
;
quarter-
during
suffer
be
the
is the
trill
beat) a
trouble.
added
it is
the each
on
will
them
may
make
melody
hand
measure
not
it is best
each
to
to
four
sixteenth-notes,
Minuet) only
turn
perhaps
play;
antique thumb
six
notes
Coda
the
the
must
quarter-note
equal
the
first
the
them
some
permit must
in
as
left
the
distinct
players
there
But
down
fingered
two
are
able of
players
would
account
no
in
young I
be
group
finger.
turn
affords
which
each
third
clean
a
will
players
is
a
,
young of
whole
all
61
at
the
begins
61
form
There
(four
find the
At
passage,
For
will
53. each
to
sequence,
inverted
at
as
used
you
echo.
horn
trill.
Begin
the
in
in
sixteenth-notes
experienced
and
63, 65, 67.
at
the
treating in
lasts
be
may
an
as
subdued
not
repeated
left-hand
similarly,
executed more
passage
which
pedal
dominant
|,
the
repeated
being
sentence
the
marked,
is
phrase
Solos
tone,
not
Analyze
four-measure
it
Piano
Well-known
2IO
finger.
to
bar. write
begin
Chivalry
Polish PIECZONKA
with
OlyAND, of
the
of
theme
all
and
"song
The
music.
Chopin
with
is
it 4
And
their
of
is
study
best full
for
preparation
of
certain
the
on
is
a
"ring."
thirty-second
and
"whirr"
bright, the
and
to
grace the
piece,
temente"
It
is
at
note,
Have second
accented
of
in
on
tone more
the beat
Those
mazurka.
the
come
the
rhythm
castanet
II
slur
measure.
the
must
the
exaggerate
In
next
full
a
the
of
note
the
half
-beat
7,
very
E.
the
shorten
correspondingly them.
the
notes
up
the
of
last out
finishing
before
feature
distinctive
four
Have
note
Draw
done
trombone.
a
The
unison?
theme.
slightly
first
to
tone
which
it
on
first
the
suggesting
tone
in
be
should
measures
orchestra
begins
linger
lightly
Ian
the
are
people.
to
are
a
full
large,
a
full
measure
and
as
noble
properties
now
we
introductory
four
next
the
are
well
serves
broadly,
and
such
martial,
such
;
a
rous, Chival-
fierce,
refined
this
been
long
pieces.
The
Or,
of
selection
and
vigor
qualities
ories mem-
story."
proud,
highly
yet
has
past,
gallant, and
glorious
her
and
(gallantly)
12
dots
of
the
let
the
out Through-
crisp.
very
the
of
beginning
of
the
sixteenths passage movement
eighth-notes which marked
slacken
low fol"Galas
Well-known
212
crescendo
the of
flourish
his
a
the
with
of
it
the
the
the
of
18, and
(17)
scherzando would
bass
the
emphasis.
of
"swagger"
regiment
notes
little
a
B-flat
sforzando
Give
long
just
Solos
giving
officer.
dandy
Hold
and
the
on
the
as
cigar.
time,
developed,
mihtary
young
a
a
is
Piano
their
Linger
end
the
twirl full
slightly
section
with
snap. In
21-22
23-24,
in
rather
freely
minor;
D
at
you
will
the
first
The
beat
that
the
exact
in both
and
make
a
47,
time
and
dotted
ritard
fine
a
at
to
liantly." "bril-
passages of
the
harmony.
crescendo
to
introduce
the
letting
the
to
quence se-
Begin 28, where of
return
ritard
right
legato
into
time
so
many In
E's
those the
ritard
into
you
must
appearance,
else
You
of these,
Hurry of
the
melody
at
re-entrance
the
each
Develop
this.
Also,
your
descend
leading more
seem
very
slur over
best
by octaves, into
vitality stale.
of
counter-melody
disregard put
"catch
rubato.
into
the
might to
tied
and
it will
the
seductive
a
notes
they
put
with
the
68
as
thirds, second
the
bass.
the
Observe
here.
each
have
sustain
in
developing which
prepare
coquettish.
follow.
balance
all you
Put
slurred
resolve
after thus
elsewhere.
66-67;
sly, tender,
which
measure
52
same
them
tones
lost, and
ritard
is
45,
first of the
the
the
half-notes
at
slight
49,
motive.
outlined bar
and
melody up
on
to
the
at
octave
is handled
transpositions
work
theme,
hurry slightly the
61;
the
in
repeated
theme.
slightly
leading
and
Notice
tenderness
50-51
25-26, in F major; Do
21
of 45,
up"
is
27-28.
"trio"
Linger
in
which
"pattern"
in
are
softly
the
have
we
the than
first on
as
the
begin
a
singing further
theme, its first
Rachmaninoff
While
this
along
at
regular
a
Prelude
feel
always
soul
a
in C
dance
the
tic roman-
rhythm
heart
in
yet
and
dance
full of the
213
form,
its idealized
that
too
Minor
Sharp
strictly a
strongly
so
clothe
but
I
one
qualites to
is
mazurka
the
playing
Prelude
"
seems
quality
plod
to
pace.
Sharp
C
in
Minor,
Op. 3,
2
No. RACHMANINOFF This
piano
revelry"
with
their I
have
which
the
heard
the
splendor
instinctively relates his
He
says
by
the
The dies
medium
that
feels
the
when sound
in
of
with his
father's
a
to
the
difiicult chords,
has
a
glorious and
dignity
greater
Prelude
of bells.
hum
val, festi-
size
this
In
poetic
above
one
Glinka
enthusiasm. ravished
everything, their
imitated the
upon
of
instrument
bell ; and
the
resonance
composer. may
the
I
brass
tones
and
by
copper
house.
an
its full
a
on
enormous
with
heart was,
manner.
great religious ceremonies
the
force
with
own.
bells, and
all his
like
with
he
the
piano being
bells
our
blends
bells, but
Cologne,
their
vibrating
his
boy
a
of
of
land of
to
such
how
filled
church
away
piano
than
in his memoirs
pounding vessels
of
ringing
school
inundated
owing
Perhaps, the
weight,
the
chimes
"barbaric
the
fascinating
a
Russia,
seemed
streets
bell-music.
such
Cathedral
the
of
Russian
young in
in
been
instance
an
thought
never
when
of
is
Western
have
and
piece
I
plead
percussion,
its tone
deep
notes
of the
may
have
suggested
When for
the
spelling poor
modem
out
instrument,
this the "
Well-known
214
do
not,
it did
as
let
the
course
three
bell
strings
free
are
sound
The
underlying their
with
of
the
the
measure.
the
effect
else
fifths
consecutive touch.
At
is for
middle
Why
contrast!
Perhaps
At and
44
the
before
become
and
is
you
familiar
with
be
will
down
real
of
play
this
certain
very
the
of
populace
beginning
this
passage
in
aloud
rhythm.
the
theme
four-stave chords.
the
sake
the
outburst
and
in
and
pedal
for
Count
barbaric
a
legato
tonic
or
forbidden
the
turbulence
out
your
out through-
it such
Well,
accent
the
(or eight) times,
a
The
ment move-
disturb
not
mostly
on
the
Cologne
dignified
feasible.
clang
fill
if
may,
representing
need
a
agitated?
bells
can
if
down
from
them
give
make
it is the
3
harmonies
first time
preserve
great
pedal is
Notice
7-8, which
36 is tremendous.
develop
actually
measure
it four
stirring occasion.
some
measure
to
so
vibrate
at
breadth.
the
section
pedal
use
13
agitated.
on
8
measure
sixths, which The
the
lose in
ment, instru-
will
(perhaps
streets)
the
In will
the
Even
7, that
measure
although
equilibrium,
all
harmonies.
I heard
as
eighth-notes in
is down,
your
begin
just
At
crowds
swaying
first
the
well-tuned
a
that
resultant
notes,
music.
of
play.
"clang."
considered
bell
others see
which
eighth-notes like, be
you
each
in
it then
full
each
pedal
resultant
Therefore,
you
for
used
and,
string,
one
sympathy.
before
the
are
enthusiasm
the
vibrate,
to
but
be
must
make
Prelude,
the
your
for, when
richer
strike
in
pedal
and
you
mastered
give
may
notes;
the you
you
with
away
ments, instru-
his brass
pounding
run
have
you
occasionally Of
Glinka
vigor
your
When
cringe.
with
Solos
Piano
once
score
In
the
again,
you
must
last
chord
Raff
46 and
of
which
hand.
in
rest
next
56.
So
many
It
equals
"counted."
The
minor
215
C
natural,
shorten
for
the
the
quarter should
which
but
measure
should
52
chord
eighth-notes,
is
there
one
a
its full value.
receive
fiery exaltation
usual
in the
; set
and
big outlines,
in
drawn
key;
fourth
the
players
last
is full of
Prelude
Russian
the
as
2
Measure
of
two
should
which
half-rest
F
young
In
read
measure.
on
No
157,
is easier
sharp
double-sharp
a
right
B
in the
appears
have
be
the
47
Fileuse, Op.
Le
"
geously gor-
colored.
157, No.
Fileuse, Op.
La
2
RAFF This
is
have
been
Like
a
piano piece,
a
suggested
is
It
thought.
just
a
produced
the
by
pleasant
the
right hand,
the
the
voice
intermittently.
part and
melody,
he
the
is
hands,
song
"sung"
whirring
in
even
contrasting
hummed
whirring
on
Raff
a
wheel
of the
between
little
the
by
going
by
divided
graceful arpeggio
to
seems
instrument.
no
melody
The
wheel.
the
is
there
the
for
and
of
genus
Words,
spinning
her
girl over is
without
Song
the
by
simple, and
and
pure
of
finger
unceasingly,
but
had
gift
great
a
figure of accompaniment
this
is melodious. Be
after looks
sure
it has
played
showy,
these
notes
with
zest
off in
lift your
you
so
for and
"bravura."
smoothness
and
the
its
much
three
relish; then,
well
up,
hands at
effect
until
measure
aimed
distinctness, with
measure
i,
mind
if it
Try
here.
better
in
Never
notes.
the
separate
The
hand
left
you 14,
at
the
can
let
should
to
do
link them
them be
go
great
accompaniment
knit
well
so one
hand.
but
the
left
hand
right
the
hand,
same
which
it may
repeated
be
of
carr"'ing
could in
which
and
times. 32
; but
you
The
remainder. the
of
novelty
index-finger
to
be
particular of
use
alter),
to
them
constant
For
many
over
and
find
the
to
the
curious
is the
tip
notes
difficult),30,
motion
its
move
I
difficult
eight
the
yourself
the
what
overcome.
(more
26
see
(which, probably,
repeat
experiment
may
this
round
i8,
at
wide
will
we
necessary
may
and
"wheels,"
Other
be
trick
the
ring
a
the
technically
a
yet,
paniment. accom-
again until, by
or
D-sharp,
on
later
the
over
pencil
is
In
not
perfection)
to i6
begin
but
may
moving
harder
is meant
or
over
do
instance,
still
and
"sing,"
the
to
altered.
repetition, the discomfort,
on
i6;
measure
task
recommended
which
by
(which
it
be
always
"wheel,"
section
call
with
played
ends
melody
demanded; must
I have
a
and
and
justice
makes
measures
study
the
do
to
sometimes
stretch
Raff
if
as
additional
the
make
to
What
call
begins
hand has
difficulty is
The with
The
it sounds
that
together
Solos
melody.
the
on
to
Piano
Well-known
2i6
scale
next
note.
The fourth
(For second
notes
from
fingering
group
of
which
form
spoiled; is the
of
at
71
of
hand,
the
passage
at
is
be
followed
taken
by
optional: try Those
4,
i,
3,
If you
measure
i
3,
of
27.
by
the
on
the
for
notes
arc
mostly will
2,
few
link, often
"bugaboo," 104.
similarly,
may
the
are
Fd.)
"
connecting
but
omit
to
24;
these
sixteenth-notes. a
have
measure
left
the
arpeggio.
descending The
each
hands,
finger
of
end
the
small
will
probably
you
with
each
at
hurried
90,
and
amateurs, ofi' six
and
Ravina
four you.
(In
notes
of the
measures
the
Black
; but
the
the
it
and,
the
is
disadvantage
left
in
left hand.
109,
Ed.)
"
there
is little
the
repaid by
two
the
Also,
therefore,
help
first
played by
are
with
will
if the
107,
simplified.
beat
keys predominate,
fingerhold of
counts
of each
217
thumb,
106,
w^ill be
first note
Style
the
105,
third
execution
the
play
104,
first and
de
from
alternately
notes
hand,
Etude
"
beauty
key
rare
*
Etude
de
Style
RAVINA This
brilliant
known
is
of
real
a
its
the
It is far
piece. with
The
of
secret
It
G
by
followed
C-H-G,
of
these
beneath
them than
of
reverse
really
is
a
regularly
chord
a
It
more
yotmger
many of
study
a
a
as
composition
which
on
by is to
a
have
done. here.
second
chord,
the
proper
beat
mark
greater
You
The is
stress
this
Now
is
the
diminuendo
follows.
of accent
This
editions
best
to
note
touch. then
ful care-
attention
staccato
a
light
usually
the
give
us
space,
the
G
lies in the
with
very
In
is
what
fall
many
fourth
is, the
syncopation would
than
is indicated
; that
the
a
staff.
the
form
begins
with the
on
above
execution
accent
this
Do
p.
of
in the
piece.
a
is not
name
First, let
figures.
accompaniment.
marked
of
its rendition
in
success
of two
study
form
the
title.
highly poetic
a
the
prejudice
musical
more
fulfills
typically
fanciful
more
eliminate
to
in
study
against using anything
minds
very
Fancies,
a
"
that
pity
prevalent,
the
Etude
an
sometimes
interesting composition,
Thistledown
as
offices
and
see,
stress
brought
of
is the there which back
Well-known
2i8
last half
the
to
firm
of
grasp
lightly and And
the
the
group
ready
for
its
the
fall
crisply,
the
falls at is not
the
The
in
of the
of
with
careful
study.
fingered
here.
If done
accustomed
16
The
even.
very
need
similar
double
bar
will
The the
time, let
not
but it
Observe At
we
diminished
This
in
disturb is
have
at
the
pp
Observe
is made.
minor to
a
the
26, e
that
beginning
note teur. ama-
8,
measure
seen
well
are
come be-
fingers give
end
no
remain
notes
the
at
voice
the
should
the
end
last
of
till the
1
close
of
nothing
musical
a
of
12
and
The
full
of
contrasts
strong
dynamic
chord
D
the
Beginning chords
Do
period, in
power.
of
30
at
for
a
34,
arpeggio Do
sharp. key
At
with
markings.
descending
into
do
second
brilliant on
to
period.
rhythm.
delicato.
arpeggio
has
8
the
the
seventh
leads,
careful
measure
the
carefully 25
I have
the the
this
to
fingers
at
of
keys
used
other
as
end
it
the
attention.
shows
here,
beginning
the
badge
the
finger
finger
much
changes,
passages
above
certain
at
eighth.
every
note
quite slowly,
be
Only
with
sure
of
right hand,
the
editions
their
to
trouble.
the
a
touch.
staccato
a
on
Be
All
is done
staccato
beginning
run,
chord
in the
vanishing
"whack,"
is worth
great
and
the
Let
sentence.
a
a
beautiful
weight
the
with
inches
group.
succession,
end
done
its
allowing
is taken
mind,
few
a
G
dropping
to
in
well
From
duty.
being light
slur
slurred
notes
first note
the
accent
then
careful
very
of notes
hand,
The
one.
finger;
a
Solos
persistent figure
thirty-second
drop
first
Httle
that
to
Have
of
the
neatly, by
now
four
of
Piano
E
sudden
give
it with
of
the
dash.
(four sharps). change especial
tlic left hand.
to tion atten-
Sound
A
Rheinberger" each Do
by
tone
"shove"
chords
such
of
in
first theme,
the
next
piece should
up"
clear,"
"ring
which
a
a
teristic charac-
which
lead
by of
return
last
it
but
from
43,
the
The
measure.
give
so
harp
to
finger.
nothing
rit., in
the
Let
graceful "slowing
slight and
the
Italian
the
on
the
distinctness
the
219
i
then
and
produces
not
is borrowed.
effect
the
effect,
muddy
of
touch
chord
the
over
right, which
the
to
blurred,
hand
the
5, No.
Op.
crisp, individual
a
place
not
Chasse,
La
the
of
measure
brings
a
to
us
a
close.
proper
Chasse,
La
Op. 5, No.
1
RHEINBERGER
requires
It
endurance
and
be
would
flesh
motion)
contrary you
a
art
our
to
the
that
in
conjure
all
musical the
pace
to
a
song
permits
through,
the
few
a
the
be,
may
(and
octaves
here
aspect.
in if
and,
strong, small
hands
wide
grasp
mind's
jollity of middle
is the of
chase
vocal is
the
can
is of
up
eye
with
a
triumph
leading figure the
sport?
section, in A
effort; but
kept
Is it not
of the
notes
the
before
up
good-humored
approach the
exhilarating
spirit
Sometimes but
flying pell-
leisurely canter an
well-made,
a
difficultybetter,
Returning
and
for
a
the
advantage.
great
can
call
the
with
go
rapid
the
it, a large hand.
have
negotiate
for
for
weak;
often
is
men
such
of
willing
however
But,
scene.
rendering
keyboard
the
song
therefore
and
country,
tame
a
dogs, and
Horses,
the
across
of
hunting
this
play
to
requisite "go." mell
command
considerable
a
it
excitement The
only
flat, where
elsewhere,
unflagging
indeed, energy
Well-known
220
breathless
and
from
probably The
hunting This
horns.
weak
of
By
startled
of
this
the
be
measure
discord
the
of
on
your
aff'ord the
the in
staccato
to
the
and
overcome,
lump"
and
chord.
each
the
eye look
the
well
Measure
6
the
be
bar
to
change
do
dominant we
have
and learn
"tricky" need
to
"in
needs
finger
in
staccato
keyboard;
two
the
do^\^l 12
and
in
At
will
1 1
Measure
that
but
at
dot
staccato
The
come
to
finger
keyboard
it.
this, become
sound,
flat.
the
the
it is worth
is unusual,
must
the
To
at
a
B
measure
wrist
on
of
music
Notice
on
of
end in
and
away.
double
3, look
accent.
simple progression After
remains
finger
treble must
places.
the
the
and
the
in
similar
octaves
special
raise
to
pencil
at
field, I
a
the
of the
repetition
finger
measure
write
first of
the
at
as
may
you
so
to
trouble, but
it is usual
second
chord,
like
exactly
set
more
clean
a
all the
the
arrangement be
slur;
and
2
recognize to
the
C
the
of
of
fingering always
little
a
I
on
song.
modern
Further,
of
end
sake
2.
3,
broken
be
might
note as
middle
of
curious
cart-horse,
a
single recurring note,
a
while, for the
over
of
galloping
in
It may
piece.
the
the
axiom
an
fingers on
begin
in the
hoofs
the
to
double
a
never
"tootle"
coincidence,
lonely cottage
particular hunting
is
It
by
of
rhythm
a
due
always
curious
a
horse-hoofs.
the
largely
hand,
music,
feature, for there
a
is
first
of
dawn
without
effect
left
the
beat.
this, sitting in am
written
song
in the
can
the
rhythm,
galloping
is also
hstener
untutored
ago
of
notes
galloping
interposition the
ages
sound
of horn
use a
was
arose
the
the
recurring
regular,
of which
perception
Even
speed.
the
appreciate
Solos
Piano
the
you
familiar
bass; cannot
with
tonic. measures
a
raised
Rheinberger sequentially the
watched,
although
once.
Keep
sounds
firm
The
a
hardest
but
like
double
a
then
the
threefold
hand
learn
people
a
student
earnest measure
and
which
sharps We which
at
you
namely,
"
now
come
will at
43
vanish measure
E to
small
a
for
perhaps
the
passing
notes,
them
apart
in each
hand)
the
will
right;
and
obviated,
you
the
notice
the
hitherto
the
second
left
the
the
still
become
chord
familiar
consider and
major
bravura
if you
the B
the
; but
chords
here young
; but
the
digestion. chord
of
fiat
minor,
of D at as
44
and
written
A
45 in
major. the
passage,
examine on
mental written
rarely rarer
many
trouble
any his
but
hand,
Fortunately,
have
48,
which
the
by
hurry
not
the
motive
without
passage
to
"tricky" that
it.
must
you
advise
crossing, seventh.
we
be
course,
played
will
42
fiat minor
I would
will
there
easy
below
semitone
a
another
takes
such
are
fingers (i, 2,
Notice been
has
quite
very
sequence.
master.
right
with
Of
have
we
of
inspection; play
left
are
excuse
double
similar
trill,the
Trio
the
eighth-note
At
with
descending
must
the
need
encouraged.
you
The
20
but
be
note
phrase.
finger,
measures
difficulty of reading
memory
In
two
the
would
repetition
23,
context
it be
bass
deep
19,
at
ways
top of each
fourth
and must
both
measures
unless
piece.
22,
the
weak
these
the
21,
the
in
the
left hand
in
measures
notes
open,
large hand;
from
with
course
The
hand.
and
221
octaves
the
so
i
follow
the
look
down
ninth
melody hold
to
other
no
the
of
cannot
you
5, No.
which
two
motion
pedal tight
below
sustained
difficult is
the
the
higher;
outward
and
contrary
be
third
a
Chasse, Op.
La
"
the
chord
modern of
the
difficulty of octave-
diminished
Melody
in
F,
Op.
3, No.
1
RUBINSTEIN HE
best
piece
heard
the in
how
caressingly strive of
to
steel
and
touch
the
such
as
the
told
are
of
listen
leaves
to
fulness
being not
only
also
in
in
in
which
volume,
tone-color,
a
gift
was
he
had
sighs night
Rubinstein's
who
wish
of of
note
the
quite the
by excel
to
opportunity
that
was
in
yet
summer
whenever
from
quality
could
undimmed
those
each
then
produce
memory
left
roundness,
distinct
quite
he
so
muscles
he
harp.
pianist
impression and
the
urge
first-rate
a
The
occurs.
I would
years.
from
fragrant
a
"
With
and
^olian
an
and
fingers only
come
upon
playing roll
gossamer
manner
keys,
smith,
a
ody mel-
dwelt
tones.
of
those
this
fingers
the
upon
sweet
same
like
with
keys
playing
piano
to
wrists
we
breeze
the
extract
his
at
have
inimitable
own
recall
can
who
"sing"
composer
his
longer
no
those
Only
this
playing
is, unfortunately, service.
our
in
lesson
possible
nary extraordi-
the
melody
accompaniment, but
astounding, remarkable
most
degree. But about
we
the
study
the
important
have
given the
descend
must
of
role birth
technical
to
the
from
these
Chiefly
piece.
played
by
the
melody
treatment.
the
pedal, itself
The
and
altitudes
"
to
be
which
noticed even
probably trick
of
set
is may
it
using
gested sugthe
Rubinstein
pedal
so
let It
us
join
say,
by
careful
two
of
how
listeners, and
are
that
playing
I
of
the will
be
the
thumbs
well
the
rendering
weak
first
which for
the
such
note
may
is
held
of
our
rule, bad
a
actual
own
is seldom
notes
the
if
other
or
and
quality
a
in
but
a
shown
render
left
and
in
red, and
because
the the
and
is to
Take,
Music
to
with
point
measures
has may
line
master; task
One
be
is
member
been
the
example, i,
this
2,
3,
drawn and would
some
from this
bring
4,
difficult, is
and with
printed of
to
until
weaken
for
is
plan
pleasant.
notes
it
properly,
simultaneously,
strong, assertive
pencil
between
good
alone
minimum;
a
it
Another
hand
notes to
very
is divided
contrast.
in check.
effective
more
to
accompaniment,
strong
thumb
notes
be
the
reduced
students;
some
to
to
familiar
result
be
melody
false
tune
right
the
hand
thumb
easily
not
the
pedal.
becomes
the
must
the
with
note
left
as
their
and
it without
with
strengthen
ones,
the
and
melody
printed
to
that
practice
alone
each
way
touch
alternately; and,
to
the
play
to
the
to
reminds
listen
listening to
exact
sound.
the
thumbs
two
critical
the
This
are,
with
alluding
first notice
will
You
of
not
am
but
delinquencies, duration
habit
the
formed.
ever
concerned
so
by repeated
should
pupils
Young
and
off.
critically we
more
performance.
own
is hit
pedaling
ively, success-
easily learned.
chance,
by
223
i
struck
is not
Sometimes,
No.
3,
listening attentively
correct
much
thumbs,
two
experiment.
moment
Op. notes,
separate
the
from
only
comes
me
to
as
in F,
Melody
"
use
to
note
to
would its
be own
reward. One
the
feature
passing
of the note
at
is the
song 33,
a
chord
accompanying
beautiful
effect.
At
measure
to
is
41
and
There look
you
also
are
at
longer
ones
the
at
49,
At in
1
each
be
not
it
botch
players
young
with
played
;
take
each
to
the
118
thumbs, with
pedal
of
orize. mem-
twice
with
the
two
as
the
be
to
ascending
melody of
hand,
coherence
harder
use
tenor
crossed
finger
the
"
beat
right
the
"
in
the
modulation
a
still
three
ascending
second
memory
the
second
the
and
to
if
Both
logical
is
out
of
term.
the
gives
comes
give
At
tones.
another
"link"
form
by
the
voice
89.
help
a
followed this
"
Perhaps,
and
as
"
second
and
descending
accompaniment,
measure
richest need
a
10
the
assists
its
with
by
the
by
suggest
measure
which
fingering scale,
I
finger
each
guor; lan-
produced
small
the
by
meant
of
49
respectively,
May third
the in
used
is
scales tonic.
at
see
made
are
chromatic to
will
you what
quarter-notes
is
122,
"links"
two
15,
at
Russian
the
minor.
subdominant
the
chord,
effect,
similar
a
of
characteristic
efifect
pretty
a
Solos
Piano
Well-known
224
so
thumb
the notes
many est near-
it.
The
might there
in
Melody have is
characterizes
here
been
and the
F
is
written there modem
by a
Russian
typical
not
faint
Mendelssohn, odor
Russian
of
that
school.
music, except
languor
but that which
Rubinstein
in
Romance
in E
Romance
"
Flat
225
Flat, Op. 44, No.
E
1
RUBINSTEIN The
extensions
in the
left hand
attention, especially if your
And
be
must
measure
you
part, from
start
that
answer,
locally harder
habit
certain
on
in
it,
sound with
notes,
24,
then
up
often
a
to
first
large hand,
such
and
hands
of
rocking motion,
eighths,
to
notes
the are
IS
learn
the in
from you the
be
done
pleasant.
chords
four
at
extensions
are
had,
but
stubborn. be
To
raised
will assist
5,
eighth-
composer
may
which
the
as
effect is
and
wrist
line
whenever
slur
the
be
one
the
mended. com-
know
you
or
with
the
a
finger
note.
start
curved
as
be
to
chord
triplets. The
rebellious
are
right hand,
that
practice
difficulty,the
appear, two
and
the
simply ascending in
gain its the
so
I
others,
All this may
just
this kind
In
;
down
small
overcome
pedal
is to compare
23,
for
wavy
the
hand
possible,
each
Surely
tonic.
and
6.
attention
to
you
if
26,
better.
left
than
asking
recognize
can
dominant
way
and
from
measure
the
without
or
easy
much
so
of the
Another 6
if you
the
others, is strongly
refrain
and
5
your
harder
some
third
special study.
concentrating
with
beginning
and,
memory;
play
of
conjunction
groups,
new
for
first
The
often; also
very
stop here?"
groups,
I cannot
is small.
finish, demands
to
the
hand
repeated
ask, "Why
may
part call for your
or
afresh;
and
quarter-notes,
picture
other.
the
to
you
the
Remember
slurred, the
first bears
slurred
two
whether as
in
sound that the
eighths
such
groups
measure
4,
let
traveling from when
accent,
two not
such the
2
Well-known
26
second.
often
I
imitate
reverse
and
musical
propriety,
in
This
in
D
of
section is
the
further
no
the
of
correct
drop
7
melodious the
to
the
sense
measure
the
flow
quarter-note
and
left-hand
the
in
and
tone
is
there
be
it
is
G-flat,
must
resolve
nicely.
that
three
the
both
losing
should
appear,
see
and
studied so
subordinate. also
be
At
20,
voices
in
eighth-
carefully.
Strange
without
play
kept where
speed.
to
easy
terferen in-
thumb.
and
tone
must
much
too
assertive
soft
very
note,
should
down,
gradation may
alto
part-writing,
melt
notes
the
16
measure
part
this
nurse
fingers
against
and
strong
your
To
weakest
and
dominant
slight development
a
before.
jealously guard
from
Keep
had
we
off in the
only
contrast,
uppermost
your
aim;
your
low
from
begins straight
rhythm
with
melody
In
at
applies particularly
middle
flat; there
be
endorse
chords
detracting
their
to
they always
do
clumsily
10.
The B
who
appeal
detached
the
softly without
above.
for
Solos
pupils
caricature
by
Let
accent.
Piano
This it
as
critically
listening. the
With
the
Play second
triplets
very
eighth-note
for
second
speed
and
gradually,
course,
the
matters
no
well
of the
note
the
consideration. and
swells
the
we
worries
some
and
of
problems the
out
30
the
with
left
hand
pride,
and
players.
left.
the
last
the
on
the
of
half
Increase
the
Of
disappear. hand
left
piano sing will
rhythm
evenly, placing
difficulty will
accompaniment In
the
the
young
hand
right
triplet for
Make
have
subject
slowly
the
technical easier.
that
the
which
against three,
two
the
of
return
be
the
when
melody
the
gains
make so
secondary the
you
ancy ascend-
play
the
Rubinstein"
grandioso
jerk
on
is
means
a
40,
in
movement.
every
second to
emotion
in
it
is
Strange
the
that
will
surely
effect
of
girls
sit
thusiasm en-
that
some
can
show
Not
measure.
they
that
head
rather
but
227
will
body
Your
of this
end,
an
exuberance.
your
half
Cavalerie
Du
whole
measure
the
lacking
Trot
your
are
stolid
as
this
so an
as
automaton.
The
fingeringof
the
thumb
the
second
the
Let
easy.
confidence;
eighths,
large,"
and
and
that
murmurs
coda
a
excellent
the
Rubinstein
especially so.
33
taken
effect
from of
al
indicates
Trot
it
quite with
slurred
two
left hand
the
39
"all
struck
I would
31.
refer
to
you
rallentando
gradated
a
makes
the
At
place
notes
be
41,
first of
the
lengthen
at
speed
tonic, in
bass
deep
with
the
play
if you
slow
the
unusual
seem
(some editions
flat
A
key,
finger here); but,
fine
very
black
the
on
bass, in 30, will
the
which
fine.
Cavalerie
Du
RUBINSTEIN When seems
certain
a
Perhaps
the
and
piano; and be
to
but so
is
with of this
for
strongly
added with
a
drum
Not
only
its clear-cut to
the
are
everyone's
precise model
of
what
phrase, sense
be
a
does of
musical
effect.
display
of
transferred
trumpet
military march
the are
accent,
march
rhythm.
to
tones
measure
this
the
The
side of him.
of its
because
there
brave
each to
horseback,
the
to
on
march
on
military precision and
imitated. also
a
the
military band
is taken
eye
blare
a
glamor
seated
drummer flare
hears
one
In
appeal form,
should
it be.
Well-knowTi
228
The
in
to
third
the
fourth
the
tonic.
In
short
the
four
through left
hand
the
chords.
the
playing
value
be
of much
of
fingering. Ed.) Trio
4,
broad
begins
2,
i;
in
the
3,
rhythm
and
will
den its sud-
dominant
to
we
pass
58 will give the
i,
2,
used
are
4
and
notes
on
it in
that
mastered
not
the
omit
formula
simple have
made
this, "Employ
to
a
who
brass
with
a
will
the
this
melody
draw
from
art
limits
of
114
play
the
small
the
thumb
of
required the
chord,
right written
of
of the
musical.
the
with
C's
the to
hand in
In the
right reach for the
hand this the
bass.
at
loi,
is
us
say,
by
will than
note two
after with
upper
big
a
the
the
the the notes
can
beyond 105,
wide left.
113,
hand.
right
better
a
man
tunity oppor-
you
tone
the
a
Give
that
loi,
get
for
himself.
measures
of
fine,
solo
a
waits
trumpet
thumb
probably
hands
3, 2,
forcing
another
The
i.
4,
distinguishing
"blare"
fingered
is yet
there
cheek, who
piano, without
the
the
let
played,
chance
all the
fingered
round
and
this
58
measure
flat, beginning
in A
face
for
107
at
rhythm
trumpet
new
a
instrument,
red
At
with
left hand,
melody
large
use
fingers
is
those
and
"
The I,
to
the
measures
56 and
similar
chords"
upper
with
for
of
two
single bass
low
all
on
if
basses
In
on
fingering
means
(Measures
great trouble
no
5th finger
of
space
keys.
measure
fleeting modulations,
direct
most
follow
sound
ally especi-
in
is remarkable
17
series of
a
and
simplest
flat and
good
a
Measure
into
excursion
by
It is
D.
stale.
grow
E
on
evidence,
large hand,
a
its first appearance,
finger
finger on
in
much
so
but
any
On
i6.
measure
6, take
by
execute
Solos
rhythm,
particular trumpet
is difficult
not
Piano
G
with sion exten-
At
of the
115
first
Scarlatti"
first
the
(In chords
for
the
note
top
of
measures
left hand
the
Burlesca
however,
shifts, make-
Such
written.
than
condemned,
be
to
are
extended
the
simpUfied by playing
be
lower
octave
an
coda
the
may
229
under
except
most ut-
Ed.)
necessity.
"
Burlesca SCARLATTI "It
advisable
is not
style only,
one
Such his
sets
inevitable
own
Scarlatti
music
invented
proficient,so than
more
playing
to
up
individual
of
hall
marked.
of Scarlatti
own
technique. the
of
Just
indubitably Full
modem
of
sense;
meaning,
these
qualities characterize was
the
of
made
great
quite
new
effects
short
and
compact,
contemporary.
use
founder
of
crossing by
this unlike
the
means.
the
by
a
the
or
the
painter, is page
after
impress
of his
"Burlesca"
the
is
beautifully rhythmical,
elegant, agreeable, pretty, the
technique,
pianoforte
find
we
so,
neat,
Scarlatti
his
sketch
a
bearing
but
became
Handwriting,
Liszt. or
chord. harpsi-
he
own,
of
days
the
else, influenced
voice,
a
all his
indeed,
as,
on
brilliant, that
anyone time
the
page
m
of
timbre
personally
not,
extremely
that
style
a
ism." manner-
early
performer
to
naturally
yet he
the
In
great
a
to
his work,
aU
on
must.
was
Having
Weber;
of
stamp
original composers
all
so
words
the
are
will lead
procedure
such
or
exclusively
ourselves
devote
to
certainly
it
old
is.
music.
clavecin
execution.
modern
hands,
and
His suites
He
produced
pieces of
And
are
Handel,
all his
Well-known
230
in
Schumann, "The
writes:
hearing
actual
for
conceit
been
partial their
on
and
programs;
Billow
to
inclusion
for
his
music, the
the
old
students of
by of
masterpieces and
Pianists
of
collection
seconded
rapid
most
vanity."
the
to
of of
the
Musicians,"
Young
history
prove
and
Solos
to
performance will
epochs,
cure
"Advice
of the
study
the
different
his
Piano
effectual have
always Italian's much
are
Scarlatti
music
indebted
in
the
Peters
edition.
interesting it would
How and
Scarlatti
seemed,
victory
pleasing
know
to
renewed A
the
burlesca
kind
have
have
the
tattoo";
This
and
present,
short bar
thus
like the
the the
indulge for
is
theme in
pieces
in
to
an
note
Italian
the
in
form
mosaic.
of
who
of "devil's
pastime
selves. our-
is
accent
figure
it becomes
All
a
ear,
thought,
the
The
9.
is
rh}i:hm.
kind
a
is
Scarlatti
named)
so
in
in
It
of musical
presented;
measure
the
1720.
pronounced
"Burlesca."
listening
but
well-ordered
fingers
the
him.
it takes
absorbed
craving
dolce
syncopated
of
his
often
this
contrasting is at
with
are
devoid
some
person,
strong in
paramount
a
we
here
sense
table
indeed,
in
it
mastery
to
London
and
be
keen
with
on
piece,
when
friends, and
compositions
may
a
met
will drum
No
of
There
yet
We
few
Cardinal
complete
fast in
the
Rome
revelation
a
became
they
(very
"tattoo."
who
was
acquaintance
jovial,witty a
which
playing,
organ
then,
harpsichord,
German's
the
acknowledged
in
Handel
Even for
vogue;
the
on
hear
to
other.
together
undecided
was
Italian
in
were
them
brought
been
each
against
play
competitions
Ottoboui
have
is
ever
easy.
the
only
the
tion sugges-
phrases
At
gives great piquancy.
the
are
double A
four-
Scarlatti-Tausig" Pastorale begins
sequence
measure
second
of
half
"slangy"
each
6 after
at
word,
double
the
because
perhaps
of
231
The
bar.
"catchy,"
is very
measure
Capriccio
e
to
the
use
a
five-part
harmony. Bulow
given
which find
syncopation
sforzando whole
The
beat.
perhaps
it
gives
exceptional
Pastorale
the
on
"cut
and
interest.
I
is very
piece
mquirers
and
listeners
colored,
be
may
interesting, especial regard being
more
the
to
Burlesca
the
how
shown
made
be
to
as
so
has
cented unac-
dry," always
this little, piece.
for
Capriccio
e
SCARLATTI-TAUSIG
of
music
abstract
who
was
of
one
music of
most
who
is,for those
Here
from
taken the
in
pioneers
are,
piece,
welcome
on
piano
virtuoso,
Tausig,
antique marble heart,
unemotional.
the
harpsichord To
of his
little mannerisms turns
which
cleanliness. reference
of
Then, to
a
is not
this
gram pro-
term,
refreshing classical The
program.
cold
is
great
for
with
modem
our
the
much
without
account
to
reason
for
it
like
beauty,
of form
beauty
as
this
is
piano,
early day. well
if you
so
render
must
you
Scarlatti's
affects
he
of
Maestro,
expressly arranged
compared
Pastorale
the
play
All
One
instrument,
poor
a
It
art.
sense
but
has
statuary,
the
the
rectial
any
performance.
concert
of
example
fine
a
Italian
old
the
accepted
the
selections
my
antique,
like the
school"
much"
remember
shepherd's piping,
the
with that so
all the
trills and
elegance a
much
and
pastoralehas the
more
Well-known
232
likely
splendid
fingering
the
only adhere
closely
In
you
will
Capriccio,
the
about
phrasing
of
which
Form.
viz.. Binary the
Pastorale
bar
in the
relative
the
major
key,
Both
splendid
material
Polish
the
double
used
much
are
for
humor
pastorale
ends
in
double
Capriccio,
written
bar
dominant.
in the
conservatories
the
;
that
the
at
in
and
study.
1
Op. 3, No.
Dance,
shade.
and
in the
as
key
and
the
at
and
difference, however,
minor
a
add,
to
instructions
"go"
same
this
major;
ends
pieces
afford
in
being
his
more
is the
Note
is little
phrasing, light, and
has
it,the construction
Tausig's
With
there
respect
all details
to
Solos
effect.
and
that
hope
the
produce
to
are
you
Piano
SCHARWENKA Great
first theme,
ric pomp
; while
is feminine a
of
the
be
has
the
second
the
having
Although
reminiscent
The young
get them
key
students, each
note
of
of
on
its
the
bar,
good type the
second
which
not can-
for
marking
Chopin,
before
a
dance,
composer's
name
cent). ac-
popularity
public, perhaps,
else.
anything
strange
the
chival-
double
the
accent
the
part counter-
and
It is
peculiar
(see
musical
from
sweetness.
overdone
than
the
The
dance.
determination
throughout
measure
this
of
theme,
and
kept Scharwenka's
more
feature
martial
in its grace
mazurka,
beat
Polish
old
the
"very fier}^" is
marked
of the
of
is
contrast
of E
but the
it has chords
exactly together,
is imwelcome
flat minor
and
a
beauty equally
make
the
all its
own.
firm
and
foiu
slurred
to
most
Tr"' to
to
sound
melody
Scharwenka
stand
notes
Of
chords. but
measure,
i
course
will
you
15-16; the
in
none
233
is obvious.
reason
The let
which
with clean
of
account
this
phrase
with
a
the
The
and
second
the
next
slur
fingering
will
assist
may
follow
style
of
At
the
63 is that The
each measure
observe
the
rarely
nicely which what
if
as
efforts.
it
than
chord
written
of
abound
gradated
"
not
gradually
said
in
C
slow
slow^er.
regarding
49.
and,
if you cross
third
58 the
at
Klind
due
with
flat, the
worth
acciaccatura.
the
in a
;
the
for
second
D
Even
its
melody
A
on
is taken
than
the on
finger
53,
sprightliness
longer
unbroken, the
in
its
to
thumb
phrasing.
which
gets was
second
^use
"
the
keep
with
ritardandos be
themes,
their
earlier
Begin
short.
fourth,
fingering
of
add
rather
note
and
begin the
other
eighth-note, may
you
very
finger
the
measure
dotted
and
sixteenth
the
(Take
Ed.)
"
dotted
the
tomed. accus-
its fellow.
enthusiasm
one
harsh
a
feeling of languor,
a
of
use
nicely "timed"
be
with
as
chiefly
become
must
than
in the
begin
3,
involves
should
49,
melodies
curious
the
hand
right
the two
and
ears
viohns,
two
is difficult,
It
slower
of the
measure
making
by
the
together
should
rhythm
from
at
hesitated
is marked.
usually
keep
ritardando, with
marked
ritard
only
sometimes
your
somewhat
dancers
The
which
sounded
note
have
stretches
phrase,
duet, for
a
hands.
two
wide
to
unison
each
and
to
scale, which
note,
The
by the
chromatic
passing
we
play it, try
to
if done
as
the
although
and,
say;
of
consists
section
second
us
on
each
to
3, No.
Op.
Dance, the
from
apart
pedal
the
use
Polish
"
flat.
this
piece should
measure,
At
78 and
but
a
114
in
Impromptu
Flat, Op.
A
90,
4
No.
SCHUBERT
HE
old-fashioned
piece
a
water
magnificent
Many
now
in
Schubert
of
symphony when
the if
the
player
Take, after out
them All a
need
Such will of
example,
the
pretty
these
strains
from a
of
full any
large percentage
"Prevention
fingered
of
is better edition
and
fall
was
a
like
even
abstract
music,
idea
of
in
heart
this
the
upon
shower
melodist.
impromptu; bring
must
you and
a
music
genial
a
a
program;
gifted
arpeggios full
his
gratefully
cantabiles
two
as
mellifluous
most
a
descending
with
teachers
the
such
definite
melody,
Schubert
drought.
out
modern
heading.
music,
be
delicious,
always
unless
this
reveal
any
what
wrote
music,"
program
to
clue.
no
music,
to
have
not
ground
for
is
impromptu
impromptu
thirsty after
this
rarely
great
declines
meaning.
this
as
take
we
all
most
had
gives
under
Beethoven,
composer
but,
hidden
that
to
composer
"program come
such
FalHng here
the he
mind,
called
songs
agree
if
but,
Indeed,
his
itself
presents
this
is
"cascade."
was
hearers;
for
designation
mentally
sing
voice.
experience fall
pupils than
know into
cure";
moderate
and
care, 334
that, the
as
rule,
mistakes.
same
although, there
a
is
no
with excuse
a
Schubert
of them,
for many considered
but
defect,
thoughtful will
you
consists
of
the
:
formula
at
whole
piece
; it will
be
with
C
in
keyboard,
beginning
beginning
on
the
flat
flat
mind,
major,
each
pedal
this
chord
so
of it
with
thumb
chord for
the
each
group
F,
with
of A
little chord
each
on
I would
A,
are
which
familiar
as
aforesaid.
after
the
until as
the as
everyone chord
sharps, Do
the
major
keys
is the
with
G
in
all the
you
of
bottom
to
the
practice
flat minor,
top
major
as
teenth-not six-
before
But
fingering for 13,
B
but three.
while.
on
same
as
of four
thumb;
through
measure
think
convenient
third, K; then
on
in
the
In
most
from
the
on
and
D,
advised.
here
worth
keys, beginning and
others;
well
flat
The
penciled in, through
being
or
the
on
13, C
begin
major,
three
measure
at
and
measure
three
arpeggio
the
play
m.ajor
position,beginning
in
then,
four,
two,
this
familiar
become
is to
and
pair of
each
will find but
minor.
B
19,
of the
recommend
all alike
minor;
fingering
group
simple arpeggio, that
a
outset!
the
at
chord, either
You
this
piece, by
new
mistakes
common
are
piece.
new
any
of this
one
fiat
with
second
to
triad.
first is A
of
applied
well-
any
remedying
pedal marking,
they
of the
and,
major;
toward
235
have
a
directed
structure
the
third
the
page
the
Further,
learning
Prevent
find, by
measures
minor.
be
may
few
because
in
are
student.
examine
First
on
then,
they
arise
attack
of
plan
remarks,
My
they
Flat
in A
Impromptu
"
and
not
arpeggio, a
of
play
use
very
C
the mon com-
mistake.
The
"time"
of
spoiled, simple should afterward
first
as
play
with
the
the it
tenor
Perhaps
seems.
them dotted
melody
as
equal quarter.
is a
nearly young
quarter-notes,
always player then
Well-known
236 In
the
middle
in
the
retained.
the
section
next
All
musician;
such the
sharp key
that
the
the
is
minor
is very
key,
Impromptu,
in
his
which
to
ear
that
noting
each
is relieved
by
of Schubert.
Flat, Op.
A
the
to
accustom
characteristic
is
sharp
"immersed"
so
is worth
It
double
inexcusable
to
apt
oped is devel-
12
the
seem
is very
the
measure
23
player
notes.
this
major;
In
young
with
Solos
sharps,
mistakes
he
wrong
begins
section
in
measure.
but
quite
Piano
182
SCHUBERT This
the
played Charles a
of of
which Trio
last
Halle,
debt
style
The
is
no
and
lovely
piece
it very
tenor
surprising
how
general rule, in
dotted
than
do
not
they
may
their
ineffusive the
ful bounti-
today of
melody
advise
in each
measure,
time.
correct
wrong
receive held
time. their
of
player's
young
I would
value.
so
characteristic a
be
speed in the
even
"
fount
very
a
such
owes
hear
the
as
master,
What
We
feel the find
can
cases,
longer
times
you
notes
bear
disturbs
doubt,
three
many
many
rather
If in
satisfied
are
you
note
is
beat often
exceed
will
transition!
second
old
quiet,
brilliance.
dry.
but
his
often
so
for
memory
grand
just suited
necessity
my
particularly
somewhat
the
Indeed,
It
Amateurs
triple time.
3, until
England
transitions, but
Schubert,
strike
that
wonderful
accented
of
heard
leisurely moving
melody
seems
I
whom
to
playing.
this
many
time
in
remains
lyric
gratitude.
there
idea
little
tender
to
you as
in
It is As
a
full value.
down,
if anything,
Schubert
Take
the
melody and
your
care,
The
turn,
for
eff"ective but
The
the
notes
the
and
horn
double
fourth
the
pedal
Keep
the
major
arpeggio,
having The
trill before
turn
and
ritard
neatly When do
on
you not
in the
on
to
the
have
forget
black
keys
with
thumb
groups
of
added same
note,
the
ritard
at
be
the the
well
but
great,
lies
slight ritard
a
will
of
to
both
assist
you. the
during
A
is difiicult,
which
key. end
with
on
of
A
sharp,
you
sharp,
finish.
a
a
graceful What
note.
heard
not
we
the
part
until
will
measures
this, make
mastered
not
changed
G
of
one
after
thirty-second
E
the
on
one
It
must
have
rumbling
and,
measure,
six
bar;
quite independent
case
inversion
the
black
each
is very
Although
Perhaps
enharmonically
Start
passage?
a
on
the
bungling
first
the
two
on
for
down
thumb
the
in
measure
is
last
is
note.
notes,
suggested
measures
here
7.
19.
note,
music.
difficulty
in
thumb
other.
fourth
of
left
being
the
flat
measure
should
tenor
of
change
constant
the
under
double
the
horn
a
237
pedal
difficulty
they
and
The
bars.
the
on
third
the
compare
in
feature
equal
the
like
The
in the
note
prominent
a
sound
slurred,
not
are
five
in
has
overlapping
part
E
at
eff"ective
as
each.
over
one
chords
Allegretto,
should
accent
other,
quite
the
which
playing, bass
is
the
The
flat.
A
repeated
Trio, like
dominant,
by
the
absence
its
with
ending
of
182
specially
3
consists
15,
and
measure
somewhat
lengthen
measure
beginning
in
notes
Flat, Op.
A
Impromptu,
"
previous
the
and
notes
will
this
at
run
otherwise
melting
with round A
flat.
trill, but
Maria
Ave
SCHUBERT-LISZT HE world
ever
these his
hundred
inner
meaning
of
this
in
bear
verses
instant
there
songs
the
is
the
the
and
he
of
with
the
a
take mis-
made fits
melody
his
all
In
never
the
Here
and
impress
affinity
closest
poetry
muse,
spontaneity.
text,
respect.
his
to
hymn.
of
line
every
appealed
that
more
this
than
appropriated
He
six
melodies
the
few
wrote
saw
beautiful
that
song-writer
greatest
like
a
glove. The
made
composer this
to
"People
song.
devotion
which
I
Blessed
Virgin,
and
I
hymns
or
One
drawn
toward
added
luster.
adorn
the
and
Readers
the
of
fugitive
cavern,
For
and
feel
while
is
yet
this
hymn
finds
of
no
nor
the
for
keeping
Lake a
longer 338
the
compose the
by
would
piano, of
he, best
in
is
this
for
Liszt
atmosphere
hiding it
Abbe
reasons
the
pressed im-
devotion."
true
the
the
to
and
reason
devotion,
loyally
suggest
Ellen
the
how
several
Lady
that
hymn
seized
the
at
really overpowered
am
is real,
The
have
into
I
setting
theme,
harmonies,
myself
alone
easily
can
think
the
to
seems
unless
prayers
That
feeling.
I
force
never
into
thrown
it
ring refer-
revelation
greatly astonished
were
have
everybody. that
interesting
an
will
damp,
to
of
be with
all, could Schubert's
true
worship.
remember
how
unwholesome
loathsome,
but
laden
Schubert-Liszt
with
the
with
beauty
the
it."
Unfortunately,
down
to
consummate
order
;
only,
but
such
a
for
in
permanently The
three
notation turned for
three
staves.
fuller
tones
with
(best
tone
with
just
fine
as
a
Then,
when the
the
of 4 this
end sure
broad
The without
as
the
pedal the
played
the
end
the
notes
be
the other
melody
must
be
modern
your
quality of
by
timbre.
the
be
must
is
the
most
est sweet-
difficult
accompaniment
measure
small
two
to
necessary fine
a
longer;
get it), and,
This
of
last
they
quality throughout,
one
with
so
pianists prefer
3.
difficultyis intensified; but, by
make
you
is
is
the
will
you
that has
(stems
forget
not
how
the
hand)
left
Extract
dolcissimo.
at
as
will
other
but
melody
soon
you
song.
voice
all the
note
hand
same
it
keep
ears,
contralto
song
the
cantabile,
yourself
to
possible sempre
it,
abide
but
appalling;
register because
of the
secondly,
relinquished,
that
down,
pedal
both
weeks
few
a
facile
a
conquered
once
right and
the
slow
tenor
known
listening
in
a
first note
having
"tall"
a
and
for
it
played it
he
:
action not
played
handed
not
is rather
clear, and
follow
to
of the
piece should
certain
it up,
his
by
Liszt
has
wrist
plaint
incense
"As
"
somewhat
are
For
her
the
term
be
239
repertoire.
down, ear
the
strike the
take
becomes
your
be
light
a
should
your
and
up
will
Then,
staves
soon
"how
This
hands,
never
of
thing is
one
months.
piece
bedecks
phonograph
have
in both
arpeggio
the
ease.
but, if you
Liszt
ask
answer
; but
posterity
with
so,
If you
only
Maria
wreaths
and
garlands
played,"
easy
roses.
arpeggios.
wondrous be
of
perfume
Ave
"
printed
Then the
grace
in
at
the
way,
be
notes
as
notes. constant
pianoforte
pedal
friend.
action
Indeed, this
ar-
Well-known
Solos
Piano
240
rangement
carries
melody,
Notice
1
the
divided this
(there
quarter-note the
between
be
may
verse
is
additional
gives
and
is
here
and
has
''du
laehelst,
needed
most
jump
(this
the
work,
rosendujte appears
technique especially
pianists, up
to
in
this
last
is
of
Maria"
and
the
overlooked),
be
may
in
that
measure)
"Ave
pedal,
soft
companiment ac-
which
the
highest
wrist
supple
of
Study is
note
a
range
is
hand
so
alone, In
the
inserts
his
stumbling-block is
risky.
so
wide
23,
words
which
arpeggio
"
the
left
necessary.
new
invented
as
the
(Liszt
wehen"
mentioned
above
absolutely
the
delicaiemenie,
added
has
Liszt
found.
throughout), marvelous
with
played
verse
double
which
and
one
The
coming
charm.
seldom
so
but
hands.
varied
second
the
In
is
an
floats.
note
accompaniment,
sixteenth-note
the
into
voice
the
thirty-second
occasional
the
chords
which
above
delicately
however
note,
the
binds
It
arpeggioed
the
weaves
also
after
1
bass
atmosphere,
ethereal
existed.
have
the
on
and
touched,
in
would
never
to
and
the
Arabesque,
18
Op.
SCHUMANN HE
word
Arabic
the
mean
its
The
to
Schumann's
it
of
filigree workmanship,
in
rondo
beautiful
This
form.
confined
not
of
ornament
Eastern
handling But outset
for
the
third
you
will
which
trained
there
so
four
are
"grace
jewel."
If i6
is
keep
to
table will
is the
covers,
look
at
an
geometrical
you
the
the
notes note can
in
the
which master
It
clean,
chain
melodic should the 241
the
a
do
sparkle first
two
tune
well-
fairly not
unbroken.
phrase
the
on
any
hand)
small
a
that
See ; and
like
half
one
a
fit
count,
of
but for
and
fourth
requires
even
melodic
to
the
If at
distortion
parts
excuse
no
remarks.
viz., G,
frequently.
keep
to
(there
neglect
in
sixteenth-notes
prevalent
that
hears
account
returning detail
recurrent
four
melody,
the
evade
hand
aloud
count
of
note
one
example
observed
you
practical
more
some
will
you
name
noticeable.
very now
if
this
find
will
fine
a
papers,
and,
clear;
so
keeps
be
to
repetition.
thematic
of
wall
carpets;
you
rug,
is
domestic
our
moldings,
picture
it
in
subject
repetition
for
distinctive
a
As
piece.
music;
to
delicate
is not
here
gives
the
and
geometrical
application
however,
tecture; archi-
it is remarkable
character,
persistent
its
to
in
ornament
profuse
very in
understood
generally
is
tional addi-
well-kept -measures,
Well-known
242
then
the
softly be
Let
softer, and
This
the
till it settles middle
welcome the
is used
in
of
So,
as
three
at
times,
contrast.
the
Minore
strain
Written
in
you
till,at
Beginning rhapsodical which
is
tender
90,
style;
repeated
four-measure and
at
the
with
a
refrain, which
is
first
in
at
tion sec-
is
itself, and
in
coming
richly flowing
a
constructed.
hands,
full, round
effect in
content
Aim
the
at
keep
; and more
clinging
a
the
up
the
warm
vehement.
measures
one a
chief
in
are
voice
the
lower. is
subject
enlarged upon
Schumann's
sings
degree
phrase, slightly altered, Arabesque's
of
"form"
the
section, and
time
17
return
the
themes
heart's
only
this
the
that
note
between
fifteen
original
but, looking
gives
82, it becomes
very
At
This
music;
instrument.
your
and
for
key, similarly
your
this
throughout
tone-color
minor
5
device
a
cadence.
way
other
played
to
register of
resonant
effect
be
indulge
may
with
measure
in its
complete
divided
octaves
part should
tenor
of
please is
after
degree higher, and, by
I, Schumann
in the
At
returns
the
pieces
the
repeated,
original key.
measures
for
cantabile
the
whole,
a
is
perfect
paves
all small
forty-one
between
in
understand
you
subject a
should
Schumann
as
phrase.
another
key,
25,
nearly
inserted
up,
at
Arabesque
can
melody
with
starts
of
changes
for,
degree higher,
9 the
down
portion
subject
the
In
However
touch.
velvety
"form";
of
a
up
reach.
accompaniment a
is clear
snatch
is lifted used.
commonly
the
longer ascending
a
subject
form
form
little
comes
the
Solos
your
with
played
till the
spirit."
the
pp),
examine
again
"Not
which
within
begin (it says
us
says,
is
Arabesque
you
still
Piano
phrase, Another
repeated higher returns.
in the
coda,
This should
Schumann
studied
be
hazy,
accompaniment rubato, and
of
opportunity
piano
modern but
None
this
m
what
and
the the
note
portion, the
player
a
done
be
can
such
on
style.
improvising
invented
have
be
This
give
dreamy,
could
pianist
a
coda,
showing
really
Also
ritards.
seven
ing. mark-
should
finger,
to
correct.
the
especially
more
the
the
by
shown
as
soft,
finger
yet
243
pedal
the
to
however
from
forward
i8
Op.
respect
melody,
the
drawn
and
in
accurately
very
Remember, firm
Arabesque,
"
ful grate-
a
passage.
half
for
only equal
forte
make
and
slurred
very
This
accompaniment. the
At
in of
sequence
ends
which the
laggard
for
a
few
rolling
the
feint,
measures,
sway.
The
always after
notes
it
well
with
notes
two
off, soft
a
easy.
all notes
bass
Arabesque,
tenor,
not
equal
part-writing,
the
softly.
finishes
and
is
play
freakish
that
After
bar
double
tied
those
of
"cantabile"
the
second the
hand
the
began
the
Play
"frisky." raise
contrast.
a
"snips"
of
flow
which
notes
he
so
then
"
brings
four
those
them
makes
and
notes
lose
to
feint, but
of
regular
a
melody
accompaniment,
fom-th
and
the
kind
a
which
after in
loth
seems
with
starts
measure,
a
Arabesque
the
he
quarter-notes he
Yet
II
Minore
the
At
firmly, especially
very
be
is an
which
an
in
the
soprano
mind
soprano,
lower,
octave
eighth-note the
its
changes
melody
joined,
heard.
assertively
suddenly
lovely
ascending
the
let
and
later,
but
is in
by only
puted undis-
Solos
Piano
Well-known
244
Aufschwung,
12
Op.
SCHUMANN This of the in such
high
are
aloft"
ardor
be
"open
wide
The
|-time
before
we
your
right
hand.
it
one
misfelt
Would
that
G.
and
well
and
join
then, with
is increased the
the
notes
the 45,
rendering
at
than
B
;
your but
for
a
very
and
sure
flat
to
or
the
getting able
the
right
the
large a
must
at
the
in the
be
115
omitted far better
enthusiastic
wholehearted,
away"
Surely
At
It will be
hand.
sf;
difficulty
syncopation
hand
the
the
is imitated.
theme
play
dotted
the
The
well.
the
gain
Emphasize
G.
by
to
not
down
to
detached
the
misunderstanding.
any
"peck
chance
a
then
will
B
on
studied
you
all will go
3, 2, i,
finger
be
hold
But,
best
must
you
triplet with
climax,
by is
could
notes
have
notes,
you
this
where
set
to
will
you
analysis
so!
fifth
the
on,
other,
pedal,
correct
this
them
count
equal
the
as
of that
have
you
give,
in
Be
the
will
hand
low
unless to
here
study
right
at
can
not
players
young
difficulty
time
requisite freedom. note
Let
careful
a
legato, undisturbed
triplet
as
way
"tackled,"
first left hand
the
Now
in afterward
note
that
and
threes
The the
repeating dotted
on
melody
make
ties difficul-
preparation,
necessary
flat; further
D
on
technical
regions.
often
two
as
thumb
flat and
so
proceed, finger
thumb
the
is
useful.
group
the
wings!"
your
be
the
by
damped
rhythm
would
its ethereal
into
wonder
honestly
least
at
or
overcome,
"soar
you
when
Only
esteem.
it is held
No
flow.
and
ebb
composer's
mark
high-water
the
reaches
spirited piece
notes.
Get
the
Schumann
spiritrather like
to
and
your
see
at
head
measure
by with
the
The
The
in
another
flat, and have
notes
far so
are
extended
they
as
difficultywon't passage
on
measure
53
probably first in
the
change
chords.
the
effort
to
release
rise,
to
67, 69,
They
are
followed
until
imprisoned it breaks
in
me,
is attained of
them
at 73,
by
the
81
and
frets
soars
choice
of
by
aloft.
chafes
the
are
There
feeling of
how at
efforts the
a
down
top
leash."
consoling theme, and
will
fingering
hands
a
the
at
in
frantic
See strain
"to
seductive
spirit still loose
bar.
seem
hands
not
similar
you
your
part,
until
double
If
and
not
till the are
separately.
middle
down,
the
77,
this
well
thumb
harmonies
Both
passages.
practice
holding
a
notes
the
is considerable
the
the
and
possible, suit
do
open!
eyes
42
but
going
sweet
to
note, At
left hands
it alone
as
fingering
parallel ascending
always
seems
the
There
difficult; so
very
smooth
as
ritard
the
The
page.
almost
26.
thumbs,
your
study
way,
be
must
in
notes
top
at
if
spoiled
the
the
jumps
last
tained ob-
phrase
seem
clearly played
Keep
give
effect
the
Keep
seem.
be
marked
very
"tell."
The
is best
thumb
somewhat
; if it be
to
quarter-
second
will
17
curious
a
tenor
staccato
the
These
difficulty for
sure
end. hard
the
curious
specialize the
at
Lengthen
make
a
starting
rhythm
three
phrasing
down.
such
melody.
the
written
cross
theme
thumbs
with
tone.
F.
on
second
your
dropping
this
ofif and
finger
the
sforzandos
broken
is here
melody
I would
times.
strong
at
245
12
the
Schumann
has
breaking
keep
pull
you
; and
fourth
by
away
as
measure
buoyant
you
we
jerk
5.
in the
notes
B
carried
you
Op.
letter, a hundred
the
than
delightfully
How
Aufschwung,
"
but
below
Well-known
246
der
In
Nacht,
Piano
Solos
Op.
12, No.
5
SCHUMANN The has
given
the
other
here
us
the
by
who
some
has, in
medium
of
marvelous
a
said,
battling
with
hear
and
see
swim
to
his
in his
arms
; his
dark,
the
a
This
little
imagination,
Practice
the
find
8, in C flat
the
measure,
an
exuberant
leading figure
minor;
minor,
the
melodic
figure
entirely
to
the
triplets,which
at
29,
last of
of
Leander We
his hazardous Hero
clasped
resolute after
vividly will
plunge terrible
a
those
this, to
others, a
I had
"
who
drawn.
succumb
to
classification
good
of
adopted.
first
until
movement, We
is
groups
all
especially if
persistent attack, technical
All
is most
like
piece,
that
Hellespont.
and,
waters;
engulf ment.
Night,
deficiencies,
"
; the
return
is
portrayed.
with
meeting, to
It
the
picture
a
of the
all
is discounted
fallingduring
; their
seething
difficult
which
painted
waves
reluctance
final
struggle, his
here
possibilitiesand
rising and
lady-love
In
moving-picture
crested
them
is
piano,
the
a
fine.
correspondence,
Leander
way,
taken the
his
in music
but, indeed,
it is labeled
in
its
at
sneer
almost
have
and
;
equally
are
us,
Hero
of
Through
told
school
example
for, while
has
story
in
romantic
magnificent
a
music";
Schumann
he
the
"Phantasiestiicke"
"program
the
of
great exponent
E
in
with
measure
should
a
for the be
forthcoming.
in
i
flat minor;
accompaniment
left hand,
is
hand
F
minor
; at
,
in
two
freedom
at
of
lightness
and
diff'erent in
right
at
position.
measure
hand
quite equal.
180, in A
3
given
sing
must
Do
is
The
not
the
make
Schumann
them
harder
on
hand.
apart.
The
account
of
with
the
of
and
note,
The
in
passage A
try
be
fourth
passages,
and
case,
of the
the
Begin
there
that
and
hands, B
flat.
For
the to
a
at
36 and
singular
in
middle
first
section the
on
intervening
in
left hand
the
bits
low of
the in
note,
melody
the
two
in
major
be
the
second.
left
hand.
thumb.
triplets,with
may
F,
In both
thumbs
place both
the
it
here
fingering of
on
the
these
the
tonic
then
finger
soaring
on
for
the
if you
might
you
flat, in the
with
with
triad
but
occurs,
keys
likeness
pedal.
same
comes
181
this is simultaneous
practice
of accents,
all black
middle
right hand
the
key, E
black
accents;
fourth
Compare
thumb
triplet
a
able, is uncomfort-
in the
scale,
fully care-
very
accented.
small
are
162
and
tion, posi-
the
C minor
delinquent
At
the
the
on
melody is
The
last
dominant
a
left and
note
20-21
voices.
two
see
and
hands
measures
triad
into
on
the
only
thumb.
the
then
is
15
the
varying
highest
flat, and
A
on
165 contains
Measure
the
twice
made off
best
is
1 1
leisurely.
follows
branches
on
measure
it
make
is built
passage
joining
used
melody,
186
the
of
must
first
with
The do
is to
accented,
note
; if your
but
be
a
twice,
the
flat, must
with
are
in
then
hand
leading
at
passage
times,
B
on
flat introduced 1-3.
thumbs
question,
lowest
this
note
two
distance
be
may
the
small
a
note
of the
and
247
5
half
procedure
in
thirdly,
will
You
For
No.
first
four
chord
notes
the
the
widening
Another
the
is, with
that
the
index-finger
adjusted. exercise
sf
the
corresponding
it is written.
as
and
times,
each
Practice
lastly
12,
5, 6
four
figure is repeated
an
In
lengthened.
semitone
Nacht, Op.
cornered;
awkwardly
rather
der
In
"
it will two
middle
played
be
kinds note
;
quite
Well-known
248
ad
libitum.
the
lowest
If
This
"harks
of
note not
are
you
be
welded
clinging time
bass
at
the
but
speaking,
with
Also, with
accents
notes
the
most
would
I
the
here,
soon
melody
legaiissimo, disposal.
your
beat.
the effect
The
form.
getting
before
curious
this
ordinary
toward
in
come
careful,
varied
generally
work
to
together
touch
for
habit,
the
the
to
Solos
preparatory
very
back"
must
is
Piano
beat
foot;
bad
a
temporarily,
quite
useful. We
now
The
activity. and
are
first
The
only
note
F
which
For
would
A
be
with than
more
look
the
on
At
sharp. minor
7th the
his across
equally the
we
have
instance,
familiar
measures
at
a
easier
much
sharp
B
double-flat.
minor
I
above frantic
dark
read
G
of
sion. succes-
the
next
is
sharp
to
Hero
to
be
flat
en-
in
note
sharps.
much
more
minor,
and
with
at
you
may
130,
seventh
flats, C this
detain to
pedal
a
printed
diminished
Perhaps
determination
waters.
if would
you
revert
efforts
strong
to
the
flat.
D
G
on
Similarly,
would
in
and
19
the
imitation
than
for
keyboard
1
in
126
measure
motion
times
think
restless
flat.
passage
F
134
A
of
contrary
measure
also
to
in
several
repeat
may
full
so
are
between
altered
we
132
theme,
new
to
link
but
;
harmonically At
two
difficult
very
is the
the
to
come
swim
flat
F
on
being
passage
Leander, once
the
sents repre-
and more
Schumann
Op.
Nachtstuck,
"
Nachtstuck,
No.
23,
4
23, No.
Op.
249
4
SCHUMANN is difficult
It
of
is
night
in
as
lethargic,
dream,
a
turbulent,
the
or
of
essence
under
Nachtstuck
The
calm,
is
find
and
impetuous and
surely
it
thither
and
peace,
notice
feeling
we
hither
groping,
indefinite
an
the
Perhaps
wandering
a
and
pieces,
all.
them
be.
night piece should
a
of
set
a
in
present
and
slothful
in
fourth
is the
This
what
define
to
tion. resignaof
the
last
type.
hears
This
two
answers
and
it
the
the
dominant
of
with
yet they and,
with
the
players, at
was
be
very
great deal
My
fond when
of
old
of
this
cried
3,
so
pedal,
with
leap
of
time can
you
Perhaps
dwelt
upon,
5, and
for
larly particuyoung
certainty, looking
; then
they
Professor
comparative,
"hiibscher!"
though al-
ling, hand-
spoiled by
often
teacher.
Berlin
using he
each
slightly
measures
approached
note
top
"prettier."
tenths,
three
should
of
so,
deft
discomfort.
without be
waiting
plenty
friend, the
may
chords
last
The
the
keys
Take
easy.
your
chords
the
9.
of
the
over
unaccented
instance,
well
aid
the
glide slowly
sound
must
need
and
wide
are
is
dominant
"simply";
means
chords
of the
some
tention, at-
chord
listener
the
keeps
"Einfach"
expectant.
first
second, the
the
pause,
hearer's
the
The
instrument.
a
chords.
slight acquaintance
some
dominant;
often
preliminary
it arrests
player
the
of the
itself, marked and
the
One
start.
few
a
purposes;
gives
touch
with
unusual
the off
touch
pianist
a
first
notice
will
You
and
will
sound
Rudorff, it meant
a
Well-known
250
At for
Schumann
1 1
and
The
it
"bring of
changes minor, Look
key F,
to
A
and
dissonant
dwelt
in
dissonant
players
young
restful
easy,
will
you
the
15
and
"strict,"
in
as
in
is in
At
again
style, being passing
must
be
sleep,
so
altered
legato
the
richly
very
The
notes.
in
tardily
in
is
good
the does
an
ance appearin
ures meas-
scored
be
last
time,
four the
The
cially espe-
middle
The
subject,
and
smoothly
too
improvisatory
subject to
reverts
with
must
legato,
in 24.
the
not
Still you
opening
two
phrase
it lose
to
used,
again
and
cannot
rhythm.
the
thirds
harplike
the
to
second
(and
difficulty,
a
out
major
announcing
appear,
of
light
soprano
the
and
12
cultivate
to
round
the
32
in hands
partial.
only
measures
measure
be
must
demonstrative.
and
contrast
great
; but
making
very
imitate
and
both
remember
imitation
notes
beautifully
chord
scarcely point
but
canon,
given place
proper
will
the
"
stumbling-blocks
always
are
bar,
they
arpeggios
and
in
tender
so
tenor
flowing
chords
extended
I need
19,
where
played.
fourth
12
are
case),
each
minor.
A
to
G
to
measure
melody
short
then
again at
this
by
minor,
The
chromatically
the
section
in
though
as
double
the
make
style
A
in the
if you
but,
;
succeed.
of
At
being
well),
as
G
upon.
13,
to
only
notice
afforded
leap"
ninth
(the
now
should
back
you
second
notes
second
its
"before
is
and
tonic,
the
affectionately the
transition
"
the
carefully
second
Relief
but
imitation,
of
student
young
out."
Solos
device
the
uses
instant.
an
Piano
new
measures
scxtolct
the
legato
harmonies of
the
coda
keeping
its
ends
in
night piece
consciousness.
before
as
Schumann
Novellette
"
Novellette
in F,
in
Op.
No.
21,
1
21, No.
F, Op.
251
i
SCHUMANN To
understand
hesitate
to
for
its
put
is
meaning
this
and
technical
skill
by noting
its
effect
is
any obtain
that
feels
sums
home
his
determined This
make
might Maiden,
apply
if
so,
to
order; but The
very
esthetical It will
The
of her
may
ability
the
on
player's which
to
power orator
an
deed, in-
might,
We
when
peroration
he
Schumann
where
continuity, but
those
simile
and
of
the
of this
into
the
three
of
the
which
in reversed
innumerable.
are
is of
major,
we
mid
both
only
treatment
abrupt
play,
Knight
Flower,
D
of
one
imagination
Novellette, in
next
derive
we
Whether
it with
clenches
it out from
listener.
Novellette
our
the
Wind
instances
the
same
design. be
interesting to major,
the
for be
absent
a
their tender
knight.
these
compare
opens
warriors
ponderous
imminent, scene
and
of
of
first, in F
their
comes
Ballade, Op. 38, of Chopin,
determination; on
effect
his
of this
bring
we
the
the
with
any-
chords.
use
or
sought
compare
movement
no
first
which
we
express
have
spellbound.
are
theme
forte
is
change;
Coda
the
to
To
words.
appreciation
hearers and
difficult,although
critical
the
sympathetic
further
it
depends
apparent
go
we
experience,
reception by
his
drives
if
play
to
and
when
up,
into
meaning
possible only
ourselves;
is not
piece
are
with
martial
heavily
chargers;
action
steps
measured.
are
maiden We
pieces.
two
mail
and
pomp
clad, seated
does
not
appear
The
second
sitting in reverie, thinking may
go
further
and
liken
that
Well-known
252
involved
her
on
little
in imitation,
passage
part
troubled
theme
keeps
flat, to
in D
his
to
as
Solos
Piano
welfare.
bation pertur-
some
Note itself
asserting
how like
the
an
welcome un-
thought. The
Novellette
second two
same
and
only intensified;
scenes,
strife, and
troubled
and
if you
may,
and
writes
strong,"
How
the
absolutely together.
like for
at
5, for
effect
first
the
you
When old
the
"
the
note
The
his
and
measure
never
be
gerate; exaghis
by
effective I do
7.
not
it is worth
but
caustic
dry,
a
might
you
before
the
double
fingering
you
like, if
the
he
as
always
and
warning F,
it
piece
softer,
even
own
faulty phrasing
to
be
must or
from
accompanying
as
loud,
was
his
remembers
bass
2,
together.
melody
this
but
One
G,
It must soft
binding
edition;
of
again
at
get
should
hardly
exception,
an
what
use
subdued.
preceding
ensues.
it, you
strike
marked.
in
fingering;
last
again
first undertook
WTiter
alw^ays
were
elsewhere;
may
unfingercd
penciled
used
As
so
succeed
the
an
the
Trio
you
and
without
they
is very
pedal
note,
native
players
this
legato quarter-note not
only
more
in his
can
you
The
measure.
bars, although In
be
not
each
to
much
Remember,
indicates
bass
that,
out
in the it
use
is
young
which
4.
deep
it may
hear
we
composer measure
that
pointing
do
footsteps
the in
that
say
seldom
heavy
forte marks
all is battle
Schumann
German.
sound
there
restless.
"Marked
chords
for
section
meditative
the
like, interpret the
a
weaker
clumsy if you
than effect
are
using
the
ence influ-
pedal. imitatory
of
Bach.
section Did
not
in
the
middle
Schumann
shows advise
students,
Schumann
Bach
your
daily
in almost
every
piece
"Make out
Papillons, Op.
"
here
he
he
And if
wrote,
bears
in
only
this
measure
a
there.
or
twelve
last
the
In
bread"?
253
2
Coda
with
must
be
measures
distorted
a
driven
well
have
we
fiercely.
almost
home,
of which
dissonances
the
accent,
vehement
a
Papillons, Op.
2
SCHUMANN
The
adept
of
foibles
and
apparently bear at
when
dated
as
in
and
of
This
time."
impressions
personal
days,
of
making classical show
you
for
their
experience.
of mosaic,
kind
forms.
A
He
listeners
from
exclude
them
a
at
his
apparent
sympathetic from
short
instead
glance
Their
this.
to
the
speak
or,
of
same
not
are
regard
early
his
in
dances,
or
on
but
the
larger
the
deters this
his
to
piano works
scrappiness
of
the
the
rather, musical
writing
reception,
programs
and
forms
list of
be
genius, for
they
with
song
are
to
seem
at
fond,
was
they
man
freshness;
feelings
bracketing together a
"the
living pictures
innermost
his
of
trying
they
odd
at
find
of his
impulse
the
always
but
and
years,
sitting
written We
early works,
accounts
photographs,
mere
by
his
were
vein.
him
Papillons
composing
probably
happy
find
we
The
of
habit
three
him
here
method.
were
over
from
me
and
an
was
characteristics
the
piano
same
early
felt in the
himself
musician
own
of his
extending
fitfullyforced said
the
pursuing
he
the
on
school-boy
a
school-fellows,
instrument,
times
he
his
impress
the the
off"
"hitting
at
told, when
are
we
composer,
does
will some
not
great pianists,
Well-known
254
in
revel
who
pieces
in
are
that
word
their dance
at
masked
a
bell
of
carnival
Those town
for
a
who
the
few
hours
in
the
which
in
here
After is
way,
handler
opens
Strauss
valse.
fourth the
G
finger
pedal
the
on
each
to
natural, for three
syncopated
two
No. with the
the
above,
deftness three
9
and is
3 bears
No. a
being
In the
of
to
spirit Of
not
wear
still
a
outlines
make
apparent
noisy
violin
outburst
measure
4
is
the
setting by
of the
tion. composikey
nection con-
preluding is
lightness
the
use
seventh,
which
bowing, all
; use
most
the
a
the
use
the
the
relieve no
of
smoothness
sustain
1 2
the
graceful German
gain
Here
altered
do
long enough,
at
ended.
touch.
times,
measure
gives
of
is the
flowing
are
flat, with
snatch
than
begun
the
which
in E
doubtless
difficult; but
a
lo,
and
measures
"finnicking"
sooner
No.
measures,
begins
2
all classes
subject of w^hich, by
and
measure,
which
who
this
keys
black
Rhenish
a
the
fingers
If your
noise
genial composition.
ball, having
the
"the
effort.
in
again
presented
finale
the
to
introduction,
the
in
Such
joUiest.
northerners,
incentive
is every
sation conver-
the
Schumann
sleeves, find
our
on
in
and
this
play
must
and
carnival
a
abandon
the
cold-blooded
we
hearts
our
with
in
clear tower
part in
participate,
fun
the
away."
jollity and
you
course,
church
dies
taken
have
know
joined
the
different
the
especially
is made
little
composer's
the
represent
and
This
night
have
we
to
ball
from
notes
and
taken
lovers.
two
by six the
be
may
These
pulsating vitality.
form,
they
characters of
full
Solos
Piano
fingers composer
no
and i,
4
in
preferable. the
stately Old
character
World
of touch
a
humorous to
the
volkslicd
proceedings.
and
The
Papillons, Op.
Schumann"
grandfather, perhaps
the
where
is made
dance
to
F
4, in
and
number
wrist,
as
is
pause
between
effect
in
the
6 with
if the
than
The
voices,
preceding
device
used
six
agreed
No.
6
in
subject
a
piano
(If these of the
note
highest
note
brilliant
and
simultaneously. the
for
as
"
two
in octaves,
duetto; it is
is
requisiteto give
this
a
though
Throughout,
unison.
perfect is
the
part-writing in his
two
in
is the
more
play
of the
return
touch
reach first
probably
this
dashes and
discord;
The
of
of
a
feeling of
affection.
intimate
music
much
with
perhaps
lowest
to
the
sforzandos.
two
chords.
the
crisply
hands
measures
cantabile
smooth
with
by Mendelssohn
lovers
the
displayed
will be
two
the
round
beautiful
How
with
out,
conversation
the
and
going rapidly effect
is carried
authenticates,
its
well
contrasts
of
note
dancing.
the
Ed.)
the
Take
bounding
section, with
middle
"whisked"
rapidly
composer
treble, the
musical
wig,
rococo
loose
a
accelerando
played, beginning
and
the
notes,
if the
measure
are
bass
slurred
flat, suggests
B
lovers, which
chords
profound
Paderewski's
with
The
hilarity.
5, in
No.
in
particularly vivacious,
a
played
being
like
is
possible. of
snatches
boisterous
of
be
must
subject; and,
"effect
pedant,
old-fashioned,
sharp minor,
quickly
as
its short the
musical
remember
the
bar,
style.
cravat
No.
old
an
double
the
answered
who
recognize
will
rendering
after
theme
the
to
Those
counterpoint.
and
is intensified
music
of the
humor
255
2
then
aside,
ear,
six
measures,
intended
strains
distant
the
soon
to
with
to
take
rough,
of
unprepared
stately
ball-room
peremptorily suppressed.
be in
its
two-measure
away
any
phrases, squareness
are
in the
Well-known
256 suite, for
such
One
of
note
perhaps
a
it breaks
its
by No.
next,
fiat
in A
with
regard
been
written
minor
with
the
key
enharmonic bar
(Here,
the
"solid"
effect
time, in
its
to
having portion The from
in
again,
No.
borrowed.
Beginning
9,
major
All
vivo
at
sharp is used it
measures,
of the
double
the
at
them
C
difficult
at
a
more
the
same
in the
minor
and,
wayward,
play clearly.
to
first instance somewhat
being
alike
in No.
in form,
followed
by
the
to
be
of
No.
3.
each main
key.
the
is erratic in
in C
identical,
being
most
the
rebound
and
have
typical Schumann.
but
are
dances
rhythmic
three
is fitful and
9,
is the
strain
the
might
which
rubato
by playing
No.
speed,
three
lines
Ed.)
"
short
a
chords
is obtained
is used
last
The
larity. simi-
the
in flats instead
major
Schubert,
arpeggio
octaves.
Imitation
These
tonic
of
mann's Schu-
"Carnival"
his
rhythm,
the
like
think
Beginning
exception
Prestissimo,
owing
himself.
sharps.
bit
a
few
the
the
seven
is not
The
to
in
much
so
prompted
happened
"castanet"
of
rhythm
almost
latter
the
where
Chopin,
dance
might
with
know,
we
kind
throughout,
mood,
joyous, happy
a
the
One
by Chopin a
the
course,
pathetic minor,
in the
in
to
8, returns
to
with
changes
of
all
light-hearted gaiety.
acquaintance This,
strike
you
gentle character,
sweet,
some
major
Schubert.
by
considered.
be
that
useful,
girl. Beginning
young forth
beloved
may
chords.
arpeggio
captivating The
pieces
be
may
tenderly depicts
7
Solos
perfectly together, except,
intervening No.
of
set
advice
chords
your
this
Piano
of
No.
end in form
major,
the
10
the
seems
rhythm
and first
unexpected period
closes
taken
in
8
is
key. in
E
Schumann
minor. in
At
G
immediately
melody
of
hearers
sway
the "a
The
here.
merely
placed
change
is made
would
You
form
C
is
II
minor;
the
interpolation
how
easily
The
two-part
teacher
a
make
overlapping
The
and
possess;
writing
the
as
streets
of
known
Papillons,
Cologne.
strain
It
in
|-time
themes
and
17
things.
preceding section,
in
are
the
right
the
to
How
matic chro-
opening curious
time, and
lento
piu
solo
is
is very
hand
who
have
is
yet
original.
always give
in octaves
the
about the
the
studied
not
instead
of
Grandfather's
the
tune
the
was
generally
When
such
of
measures
common
throughout
(Virginia Reel). taking
in
players,
12,
possibly,
and
effective
very order
(refer
Germany time
a
duet
and
concluded was
a we
been
dance
the
a
any
we
Schumann's
whistled
favorite
Dance, as
of
have
may
popular carnivals-lied,
a
weddings second
well
as
it is
octaves.
finale. No.
volkslied
So
subject, is
the a
find
so.
in the
ordinary
an
and
in
are
we
trio.
intermediate
The
octaves
of
eight
measure
endorsed.
your
they
and
sharp minor).
trouble; young
Bach, with
of
when
former
Polonaise
C
swaying
make
yet, notwithstanding
it is
Chopin's
of
measure
the
rousing
a
the
strengthened.
instances
return
higher,
which
do
strain
grandiose
should
many
the
257
2
rocking,
a
minuet
a
the
think
passing notes, No.
in
as
at
hardly
and
major
In
octave
an
and
people
as
by reversing
this re-entry,
C
heads
melody,
6
which
piece,"
a
a
to
way
liltingrefrain.
a
into
No.
measures
their
within
piece
from
gives
eight
toils of
it bursts
borrowed
major,
This
lento
piu
the
Papillons, Op.
"
tated resusci-
about at
evening.
the
family The
kind
of
Roger de Coverley
find
a
serious
musician
together
in counter-
fittingthem
Well-known
258
point (see where
explained dried"
when,
excess
deep
as
which
heard
bell
time
some
still
strikes
six, and
his
three
the
cobblestones,
"go
notes
to
and
Slumber
the
bed,"
with
the
noise
confused
melodies
wine
the
The
have at
church voice
clattering
on
feet
dies
night
on
away.
16
124, No.
Song, Op.
are
which
watchman's
of
to
the
possibly
good
his
and
down
the
give
Rhineland?
hear
be
must
"cut
holds
it not
the
taneously simul-
is carried
of two
May
we
the
pedal
snatches
by
it
effect
this
freely in
runs
shock
the
above
cases
is set
i
Dance),
to
joke,
when
No.
This
moment.
in
of
day.
tunes
same
produced
carnival
his
feels
one
theme
desire
musical
both
the
at
of a
while
D,
effect
been
ardent
authorities
Solos
Grandfather's
the his
by
valse
the
with
Piano
SCHUMANN
Probably a
A
mother's
voice
collection
necessarily
set
rise
Guten
Abejid,
Grieg,
and
Grieg portrays in
a
Schumann
violent
words
of
as
of
Nacht
a
each turbulent
temper
only
a
that
from
came
infant's would
their
cradle. be
esting; inter-
lullabys,
beautiful recall
we
of
music
her nation
modem Berceuse
the the
little
Brahms,
the
Berceuse
of
contrasted young will
slightly changes
middle
viking not
the
be
who
of song
The
Schimiann.
not amples ex-
Henselt,
Schlummerlied
have
of
of each
Several
Wiegenlied
the
named
the
mind
Gute
forms
rocked
music.
to to
the
Chopin,
she
cradles
too,
so,
oldest
as
of the
and
last
of the
one
of two
section. breaks
out
easily
lulled.
but
alters
mood,
Schumann
the
Slumber
"
Thus
figure.
soothing In the
voice
it, try
of
the
distinct
measure
the
his
11,
mother
difl"cult to
I
out,
three
tied
in
with
measure
in the
finger
use
five
and
group,
method as
be
the
In
13
four
note
long
now
under
then
which
four there
we
have
measures
is a
with
a
the
to
its
G
return
to
little
point
as
of
the
of the
play
the
tended. in-
Schumann
The
four
original key) (D
dominant minor.
with
sixteenth-
section.
middle
in
capable.
19
second
sound
as
must
melody
measure
the
(mediant
minor
which are
you
In
similar
disturb
to
(right hand),
slur.
it will
the
to
come
by
the
better
A
as
the
But
flat, making
melody,
disturb
not
eighth-note
bass;
in G
followed
must
the
left hand
case.
which
eighth-notes
down,
notes
the
measures
measure
the
14
of the of
when
would
B
so
the
rhythm,
of the
9,
note
wriggle.
a
each
feel
tied
the
hands
measure
"cantabile"
melody of
in
first note
the
become
who
and
eventually,
in
at
part of
players
in
corresponding
fingers
useful
possible
turned
We
after
the
do
to
count
first sixteenth-note the
cradle,
is, therefore,
strike
small
3,
on
be
finest
second
the
under
and
stems
measure
on
may
little
to
and
alike
to not
the
easy
young
becomes
adhered
so
would
you
items,
previously pointed
if necessary,
would
thumb
octave
an
be
motion
again
As those
If
rhythm.
might
refer
to
in its
3, has
right hand,
troubles
of
rocking
compared
half-measure
rocking
the
is not
often
each
note
even,
259
component
This
eighth-notes, and,
that
so
and
two
play smoothly.
measure
wanting
are
16
others
all the
mind.
in your
which,
the
keep
to
accompaniment
more
is Hke
crooning
No.
124,
repetition.
playing
quite
Song, Op.
In
imitation,
are
major),
the
second
which
is
Piano
Well-kno\vn
26o
in Schumann's
absent
seldom
is, although,
mostly
it.
the
thumb,
by dissonant
The the
note,
Coda,
inner
often
beginning in
of
parts that
need
the
on
ending.
in
lied, is
the
that
reminding
bad
a
of
measure
may
have
may
this
third
you
little
a
ning run-
its reminiscence
with
pedal,
the
notes
better.
the
tonic
a
three
wait
if you
and,
players
young
played
it
pretty
very
octave,
an
is best
much
so
on
spoiled
not
This
bungle
and
music;
beyond
being
Solos
Let
a
so
good hope
us
case.
Bird
Prophet, Op.
as
82
SCHUMANN time
the
At
dainty
tidbit
anticipated discords;
Forest
Scene
Of for
course,
the
as
title
attitude
and
At
the
is
to
as
Heisterbach
passed the
and
through
the
thick bird
becchwood revealed
his
which
of
the
on
of
the
over one
the
so
day
wicket
is
legend "A
words, is
as
a
gate in the
meaning
to
him,
in
into
a
the
Old
an
monk, years
years," entered
and
wall Here
right
World a
goes,
given
ing? mean-
my
thousand
and
this
music,"
thousand
adjoining.
use
Wagner.
"program
Rhine
have
to
pervades
I illustrate
May
become
daring
thoughts
your
it.
forest the
in
yourself mentally
where,
day,
one
lead
to
put
monastery,
future"
example
play
you
the
has here
presentiment
an
given
it
seems
mysticism a
is
it
having long pondered is
of
is almost
when
ruined
music
Try
direction.
Schumann
this
playing
are
indeed,
encore;
an
"the
pianists
writing,
fashion."
the
"quite of
of
a
lo, in
ing twittera
trance
Bird
Schumann"
a
choir
surely to
no
(that vocal
angels
of
entered
he
vespers,
and
brethren
the
mentioned
record years
in
all
ognized unrec-
him.
to
deed, In-
registers there,
the
to
disappeared
having
his
himself
find
is
Returning
strangers
reference
middle
the
away.
to
261
82
the
thousand
a
ago.
I have
authority
no
piece,
such
music
their
imagination.
but
I
I remember,
footfall
the
leaves, mood
and
"
I
romantic
just
the
Afterward,
quarter-notes,
it.
is that
often
played
in
do
beyond,
carpet
of fallen that
In
If you
similar
a
of all, you
as
in
have
a
it
scene
with
the
measure,"
count
may
the
One
rests.
concerted
in
others,
in solo
stand under-
must
like, you
shorten
not
playing
playing,
ties liber-
take
time. hears 3-4
the
first two
the
four
the
(err on of the
notes
dotted
other
the
this
of
measures
Make
measiu-e.
quite long enough and
First
if you
cannot,
you
the
One
but
in
advantage
with
invent
can
stillness
piece.
eight eighth-notes
time,"
four
notes
and
this
ing, even-
twitter.
sweet
through
autumn
thick
the
robin's
practical.
be
keep
music,
the
encourage
well.
and
great
a
dream
as
now
us
in
interpret
would late
one
gate into lost
was
temperament
do
Let
that
hearing
always
players would
young
intelligentlyif they
more
passing through "even
associating this legend with
for
think
the
will
church
the
inquiry and
on
strain
birds) spirited him
of
song
Prophet, Op.
as
piece
eighth-
side, if anything)
following arpeggio
very
brilliant.
With
regard
different), the
freely, without
to
the
fingering (in
right hand
exception,
thumb on
the
edition
each
may first of
be the
used
it is
quite
ascending
262
Well-known
thirty-second
notes, in
note
left hand,
the
over
this
inverted
the
music;
remark
in
The
handling.
the
measures
also
legato
to
the
sponding corre-
to
this, in
Here
2,
requires the
on
it to
measure
difficult
in
passage
at
not
"
careful
very
than
keyboard
The
memory. where
15,
the
crossing
i, 2,
unusual
lo-ii,
commit
therefore,
on
33-34.
i, 5, 4,
The
is better
eye
applies
Ed.)
"
and
5, 4, 2,
breaking
finger
(Exceptions 9-10
be
particular place.
9-10,
fifth
measures
better
without
I
the
Solos
left hand.
at
fingering would 5
and
the
are
Piano
on
same
hands
the
cross.
I
have
referred
seem
may
Music,
if all consonances,
the
to
ear
As
a
that
the and
Each
fast
to
still
We
of
note
be
each
also 2
1 .
same
F
the
the
in be
imitation
In
in 9
ascending
loudest,
as
the
and,
let
the
Vcrschiebwig signifiesuse
tenor
of the
mind re-
lent equivadiscords is very
14
the
according
21,
measure
in
as
section, where
melody
the
sonance, con-
they
me
is
of
chord
descending
the
a
raised
Let
14
force
when
only
13,
second
choral
of
phrase When,
8).
sharp
to
natural
a
you
shunned.
resolved
it is
by
The
is to
were
exception.
measure
them.
chromatically
removed
natural
to
it should
reached,
20,
the come
louder.
Note
F
the
and
now
that
frequent.
more
interesting, should,
(see
sharp
a
flat
a
demur.
without
almost
music
properly
we
like
to
insipid, and
formerly
easily satisfied;
has
that
you
is
that
measure
eighth-note,
are
is
ear
become
which
dissonance
a
learn
of modern
tendency
(which
dissonances will
you
would
discords
accept
rule, if
fall thick
the
beautiful
; but
anomaly)
an
know
may
the
to
the
seventh to
rule.
highest
it ascends
should
highest point is me
part soft
add,
longest.
measure
pedal,
19,
where
Schutt
the
strain
more
be
bass
should
the
The
At
is not
well
digested
his
sehr
zart
in
if you
Valse
once
see
altered
an
before,
as
little variations it from
play
memory.
piece (Schumann be
not
must
ferred pre-
overlooked;
tender."
"very
means
263
2
song
same
These
the
German)
native
is the
would of
will
you
bass.
the
head
the
at
bar
No.
bird
and
structure
root
words
Op. i6,
vanish
double
the
harmonic
; the
be
must
Mignonne,
mystically
heard.
note
but
Valse
"
Mignonne,
16, No.
Op.
2
SCHUTT This
little
in is
written
and,
notes;
copiously in
hand,
in
marked,
whatever
that
to
the
fingering, if one
page
and
we
find
the
pencil
be
all
careless
fortunate
makes
this
to
How of
such
nature
may
possessor
with
pedal is
in
similar and
pedaling
than
next.
ideal,
cope
the
but,
both
left
assistance,
Even
through;
the
to
it
capital
a
further
detail.
the
The
position
a
of
use
mean.
may
better on
Fortunately,
It
renew
may
Far
needed.
read.
without
every
piano style,
occasional
is in
succeed
given
German
to
marked.
necessarily
not
passages,
hard
is
intricacies, may is
modern
who
chiefly passing
notes,"
the
student,
if attention
of
and
treble,
the
"teaching piece,"
its
the
fingered,
painstaking
"full
it is very
places
some
is
valse
do
well
seldom
on
do
assiduous
ability! A
First out
few the
just
of
comments
ascending as
marked,
second
a
practical
triplets must and
the
thoroughly
be
discord mastered.
be
melodiously containing The
useful. swelled an
mented aug-
fingering.
Well-known
264 above
below,
or
effect
the
to
notes
of
twos;
the
hearing his
few
pupils
clip
them
A a
off
twofold
fourth
and
in do
another
simile,
these for At
chords the
the
so
pedal it would
that
by
the
lines
and on
I
spoke
dots each
is
a
only
finger,
of
oil; or,
and
out
in
but
sages, pas-
like
sound
to
to
use
a
certina. con-
the
tones
it is excellent
but over
note, the
each
measure
need
care.
it is well
But
Not
will
pedal
"good
perhaps
it here. decide.
reader
good
like
it hard
niosso,
meno
editions
the
the
on
tice prac-
fingers.
difficulty. The
that
repeated
slurred-chord
two
pressed find
players
They
is
a
fall
I find
chords.
it,as
flow
must
though
as
The
stop.
the
"Dwell"
little after
a
instance
and
which
14,
measure.
quite together;
trio,
American
next
23-24,
Young of
in
wait
and
19-20,
appears
slightly
before
final
and
Lastly,
to
dwell";
phrases.
slur
6-7, and used
won't such
on
each
who,
the
the
full
a
"I
say:
groups
crisp.
master
auctioneer
dwell
16, and
after
old
My
spoil
in
after
in
sequence
lower
half-note would
will
who
off
if
half-
the
have
we
quarter-notes
would
hammer,
well
showy
a
yourself,
hold
score
and
Nottingham
a
next
give to
to
sure
clean
in 8.
pace
the
notes
final
the
the
Be
hand
staccato
on
slacken
In
will
pleasure
as
gracefully.
lift your
so,
"dwell"
of
it
Solos
measures,
well
as
full beats.
two
make
next
onlooker
do
can
you
in the
Piano
this the
be
better
is
measure
and
but
must
43
yet
to
inner
the
a
Do
be
be
suggest
a
well
parts. a
master";
the
of
using over-
listener drawn
The short
slight separation.
difficultyof reading
forget
not
chary
for
o^nti
Standard
bad
a
matter
a
melody
also
(In
marked.)
servant,
its
has
modern
to out
tcnuto
ing" "dwellWlicn
style,
Sibelius
such
as
will
fingers
slowly,
rhythm, diligently
Coda
The
and
105,
retain
at
which,
The
difficult
contrary
of
the
proper have
you the
out
trasted con-
then
beginning,
as
For
themes.
three
take
for
uncomfortable
their
the
Yet
by Strauss.
learning this
in
keep
is to
your
note.
9
24, No.
Op.
Romance,
at
page,
writing,
motion,
repeated
the
on
chief
advice,
best
last
the
on
written
been
pretty.
finger
second
109,
have
might
little bit
work
the
from
unfamilar
of
meastues
sound
fingering
Where
very
start
to
materials
appearance,
they
said
be
may
example,
staccato
the
places
it.
uses
another
the
at
Such
contrary,
notes.
265
9
me.
upon
carefully
three,
against
to
the
On
No.
24,
look
not
right
the
suggest
notes
two
Do
hindrance.
additional
an
occurred
53
obstacles.
offer
always
at
as
passage
a
Op.
Romance,
"
SIBELIUS Here a
have
we
impressionistic tint, melody.
No
music
be
can
formal of
the
placed
and
color.
After
two
theme
enduring
measures
enters
interest.
on
an
forth
words," an
of
"
modern
neutral,
one
flow
of
pure
"up-to-date" than
this
perfect example
a
incentive
to
clock-tick
"off"
beat, is the
music, a
student
young
of
Another
a
example the
find
to
merely
pour
can
before
without
construction
tone
but
wholesome
more
"song
dehcious
with
satisfied
is not
who
composer
pleasant
How
national
of
typical example
Finland.
from
melody
a
a
rich
of
delivery
accompaniment,
which
curious
is
a
feature
of
halting tied
which
note
reminds
The
song,
6
measure
in
find
The
bass.
modern
49,
accepted
as
there
; and
rhythm
comes
beginning
needs
These
the
theme,
as
at
the
pedal,
In
27
left measure.
the
33;
and
low
treble
generally
at
misprint
a
should
be
The
theme not
At
thirds, which
legato, if the
the
ordinary
flat
of
The
the
enriched
difficulty
of
a
on
chord
must
be
firm
bass
times. the
marcato.
first tied
very
flat,
previous
ben
increases
B
for
the
the
played 45
alternate
three
in
the
out
chords.
high
triad
as
at
carefully
of
third
F,
and
hold
little
lower,
octave
be
with
minor
in
ment. employ-
passage
and
note
slurring
modem
group
measure
pedal gets
of passage,
bring
42
the
this
A
should and
Note
surely
fail to
flow.
here
an
is
duly increased
and
on
D
the
to
last
36.
"
10,
the
instance
an
chord
melody.
Again,
at
measure
and
contrast.
26, is repeated
do
and
beginning
with
of the
fingering
occurs
hand
of
beginning
master
seventh
p of
that
becoming
at
be
ebb
minor;
a
amplified
diminished
learn
now
should
with
relative in
out are
squeam-
attention
closest
little ascent
Thoroughly thought
the
marked,
as
also, the
twos;
sequence
contrasting is in
Cadenza,
extravagance,
each
decreased
18,
is
fifth
bravura.
dolce,
phrasing
will
them)
to
runs
tonic
deep
treatment
the
In
it
the
At
soft, high
exceptional
of
this
mind.
The
mark.
with
more
in
'cello
a
against
were
music
threefold
marked
of
beautiful
composer's
pedal
player
occurrence.
measure
The
of
first
the
piano
everyday
and
bowing
young
(would
The
the
flat is harmless
B
ishness
and
tone
we
dissonant in the
of
one
Solos
Tryst. the
Keep
in
Piano
Well-known
266
in
note
with
the
clearly
gether to-
mastered.
note,
the
their
player;
for
"worse"
con
ped,
is marked
passage
personal Fear
of
taste
when
nothing
right hand
the
after
In
four
thirty-second
Then
alternate
land
of 54
chord
fear
The
last
in
forms
score
of
Rustle
do
pedal also
and
time,
silence, and
tone-color,
to
as
the
tied
the
; and
the
first
fingers
give
Coda;
beautiful
a
Keep
part playing.
with
and
the
and
foot
value
tone
of
groups
octaves,
you
sure
chord
dissonant
the
retain
to
the
where
sfz,its fullest
56, marked
of
note
and
leaving
After
Be
together.
descend
should
till 55
broadly
separately.
by
descend
ped."
"con
pedal
no
use
they
as
firma,
terra
on
them
start
each
Learn
notes.
make
pedal
different
two
in the
and
clean
a
the
"star."
notes
cadenza
the has
hand
each
53
of
sure
begin
and
pause
slowly.
Be
up."
"sit
hearer
your
bravura
no
its chances
take
left hand
is
black
the
nerve un-
is left to
there
as
not
The
which
of
use
know
you
once
let the
"
the
267
3
need
follow.
is to
player,
the
No.
32,
resolutions
partial
and
dissonances the
Spring, Op.
of
Rustle
Sinding"
in
58.
cise exer-
an
tions direc-
the
note
not
tempo.
3
Spring, Op. 32, No. SINDING
is
Sinding
the
coming
the
meadows
men
the
of
spring
sudden
green
all at
forth
in full
become
forget
the
the
skirts her
of
"long
warmth a
so,
once
the
as
in
spring
comes,
again
once
look
and
approaching
fast;
of birds,
song
flood; and
as
Europe
melt
snows
; the
Just
summer.
lady's dress,
coming,
:
of
north
dreary winter"
and of
the
In
piece.
best
perhaps
composer
is very
river, bursts
to
silk
Scandinavian
by this charming
known
like
a
the a
there
ward for-
rustling
room, seems
nounce ana
Well-known
268
thrill
curious before
men
From
there
can
and
grumble strict
in
in the
counts
feature
effect
gives
to
be
it must
is the
There
tonic
chord,
minor,
which
gives
though
in
flat
predominate In with
the
note
of the
hand
hold
why
the
so
even
good Make
as
major
finger
for the
a
of
in
you
,
And
any
is
the
of
partial study
and
coherent;
a
harmonies
composition. down
note
the
make
the it
phrase
playing,
stringed
fact,
In
We
enjoyment.
of
not
relative
observe to
46.
45,
or
melody
Strive
melody
once,
manner,
of the
fiat, and
missing.
art
at
"
minor
second B
preceding
effect.
mood,
chord
a
submediant
large part
course,
down
pedal
exceptional
to
with
the
the
wistful
and
Of
the
exceptions
the
till the
of
which
pedal,
make
part
a
an
as a
hold
would,
rarely get
keep
like)
you
the
Never
two
on
interesting
player
to
eighth-note
rustling.
somewhat
a
arpeggio
melody
cello
but
measure
fifth
of
have
are
throughout
first
the
well can
values.
use
even
begins beautifully,
D
relative
should
the
on
as
pace
rule.
over
measure
twice.
perhaps
that
you
four
with
ample
by
governed
Each
one.
to
is all very
until
aforementioned
the
by bringing
unclean
but
slow
the
able
recommend
It
as
the
it all.
spoils
Another
of
sture
players
therefore
composition, (at
in
rustling
young
its use,
to
measure
uncertainty
few
and
yawned
is come!"
metronome.
this
quite
never
find
time,
the
dreamlike
a
she
though
as
"Spring
I
object
time
is
say,
in
piece
corrector,
great
Nature,
experience
this
play
It
Dame
awakening;
air before
are
in
Solos
Piano
last leftas
pianists and
this
instrument
pianist.
ascending
they approach
the
passages
initial note
at
4 and
of the
8 become
melody.
a
louder Measure
is is
Sinding provides
10
ends
C's
the
of
its
At
the
the
with
exactly the
measure.
and
also
odd
the
study C
last
it from A
few
and where
The
the
these
31
in
the
the the
cramped
a
the
separate
left
in
treble
C,
in
the
(test
fellow-notes the
next
it with and
procedure also
right hand; flat in 37,
twice
pedal
notes
fit in
hand,
fit the
note
reverse
C
if you
is
curious
a
Cadenza
and
fourth; 51,
it is
55,
in
a
the
note
would
play
see
of 40
may
notes
seven
defect
neglected,
thus
which
should
45
be
may
is in
minor
chord.
56, instead
of
section
ascending four-measure
at
50,
a
Lazy new
of the
ones
note,
sequence
three
and first
the
twice.
the
to
naturals
repeat
G, in the
in A
of
bass.
at
repeated
note
libitum.
over
54
53,
rightly
ad
mostly
piece begins
be
it does
as
broad
very
slow
when
have,
the
how
49
the
robbing
notwithstanding
that,
divide
31
three, and
finger (tied note)
see
middle
and
two
In
halting effect, coming
at
fifth
the
time.
frequent
most
dot
the
on
The
measures,
played,
The
tied
ends
accompaniment.
note,
thirty-second
At
to
fellow; and
the
tive consecu-
C
of
Beware
the
notes
seven
scale, and
melody
and
the
33.
four.
Slide
first
the
into
notes
measure
The
the
try
remarks
more
of five
is the
three
the
right-hand
and
33
that
the
scale
important.
of
"
let
all
arpeggio
clearly
tune
the
memory.
group
of
in
so
is
269
3
that
see
and
two
subject
natural
time,
No
32,
passage,
18
metronome).
the
which
right-hand
fit their
measure
C,
thirty-second
At the
on
arpeggio.
the
its
work;
finishes
new
treating
make
15
of
out
things mentally,
two
bit
let the
to
second
begins
way
well
come
may
arpeggio, third
be
little before
a
Spring, Op.
undisturbed
it will
Perhaps
of
"ticklish"
a
quite
finish
Rustle
"
47, a
note
with
the
higher
Well-known
270
at
and
51,
partially repeated
in
loudness
E-flat
low
hands
its account.
of
return
where
91,
left-hand
the
chords
be
at
crisp
firm
is
on
of
the
Of
left. ures; meas-
64, introducing measures
31
this
shortened; Draw
arpeggio
is
out at
passage
The
crescendo.
final
strict time.
Airs
Deux
suffer
four
memory.
and
in
and
of
The
loo.
for
Compare
from
play
very
be
to
are
would
few
and
down
leap
57;
presence
ritardando
subject.
out
not
right
stay
downward
part
should
103
continued
in
leave
in
must
the
twice
to
chord
tone
crease in-
when
used
advisable
chord,
a
first
if you
important
each
make
the
big
the
may
the
be
should
notes, be
right-hand
pedal
will
you
Each
55.
resonance,
the
also in
the
61
and
and
last
it, and
A-flat, at
of
perhaps
the
Notice
dominant
the
of
reach
can
course,
sake
It will
measure.
the
the
at
Solos
crashing f
till the
for
pedal might, each
Piano
Russes
THALBERG It
is strange
piece, is
not
contrasted,
that
often
more
being
one
the
Russian
The
work
just
the
this
thing
for
and
those
such
a
two
airs
martial torrent
pianists
who
and
other,
stirring.
of notes
that
play
must
finely
are
the
sympathetic,
anthem,
with
meretricious
not
yet The
heard.
tender
national
finishes
showy,
to
it is
the
gallery. Liszt the
violin
said: on
"Thalberg the
keyboard.
fingers, the forepart this
formation,
is the
of which
combined
He are
with
only has real
artist
who
wonderfully little
play
can
formed
cushions,
persevering
study,
and en-
Thalberg him
ables
found
mann Schu-
flexible, very
altogether well rounded
well-flowing, and
musician-like,
271
legatos."
"tender,
variations
these
Russes
wonderful
such
produce
to
Airs
Deux
"
off." is difficult
It Most
players put
young
in such
the
gives In
section
pleasure just and
the
melody
must
melody The
in
touch
mind
pianists simple
Paderewski would
they
This
is
who
have
measures
and
hear
feel
their
also
of
of
the
form
First. his
It is easy
theme In
both
of
a
with
to
his
variations
partly arising
a
is
and
heavy
the
rently appa-
way
; and
artist
like
exactly weighed, by comparison. theme
in
minor;
relative
Thalberg
being
supertonic,
the
phrase. Second
First
where
four
long
four-measure
in
phrase
see
note
higher,
note
velvety
on
consummate
a
shortcomings
being
theme
a
own
middle
a
advanced
each
sequentially followed and
these
how
good example
a
Being
justice to
beside
sit
s
vibration.
in do
can
a
the
clean
very
thin.
notes
them
set
could
yet, if they
bass
the
which
Thalberg'
with
it is
superimposed.
are
velvety chords
short
; the
strings, only just Those
full of tone,
be
key
"gush!"
piano
above
notes
any
ing accompany-
good
a
chords
accompanying
Have
retiring.
deep
these
suggest
to
of
the
play
tune;
minor
beware
On
softly.
too
quarter-notes
simply
should
relative
so
cannot
you
is
ear,
express,
the
here
contrast;
necessary
middle
the
Even
evident.
be
feeling
Con
says
expression
unsophisticated
simple,
a
Thalberg
where
only
be
it
Let
trained
the
to
keyboard.
the
on
so-called
much
too
which,
melody,
a
nauseous.
and
interpret Semplice
to
phrase.
rounded
has
the
off
codetta.
own
the from
E
minor
the
extra
section chord
is
cult, really diffi-
notes
on
the
fourth
and
second
its
owes
of
second
each
left
the
The
is
both
like
like
abounds
the each
which
the
little
7,
the
are
melody
house
with
hand
which
demand
with
a
first this
he
theme
girds
those
only great
grand a
great
physical
his
pearly
the
two
being
passage
of
much
gently
loins
smashing virtuoso endurance.
for"
"going
alternating up
gods,
scale
fancies,
aid
he
the
chromatic
him
subsides
into
between
the
full would
the
pedal,
brings
and
and,
plays,
long
octave
Then
furore.
he
to
up
The
the
;
if
as
well
imagine
can
and,
octaves,
looks
and
big
national
monarch
a
was.
conceits
the
to
ascending
the One
it but
he
with
pretty
After
coda,
showman
intimate
hands.
of
brilliant
page
of
leading
Paderewski,
like
quite
more
on
heralding
final
the
gleeful.
big
the
basis
The
transposing
drums
preceding
arousing the
in
great
in
specially
the
being
harmonic
tenths,
passage
of
roll
and
measures
next
the
beginning
passage
in
tion varia-
note,
the
very
second
retained.
always
pedal
himself, the
but
four;
the
hand.
here to
brilliant
interpolated
also
as
and
measure
The
fingers,
clever
dominant
hymn
not
is
theme
Thalberg,
typical
of
Solos
each
the
to
group
for
passages
of
part.
charm
original
the
beats
left-hand
independent
to
Piano
Well-known
272
down
chords
write,
in
and
Chant
Paroles
sans
in
F, Op.
success
in
2, No.
3
TSCHAIKOVSKY HE
key
to
is
Do
notes.
fifth
fourth
the
after
keys
they
mastering,
these
often,
first
the
first
two
very
most some
once,
players twice,
use
which
raising it, of 1
8
of
tones.
fifth
finger
measure
accomplish
measure
and,
tains con-
it
as
appears
it of
will
and
keep
has course,
the
pedal
down as
suffer your
pedal
three
into
no
ears
before 273
the
third
in
be
kept
subdomi-
this
chord its
on
is
acter. char-
Probably
open.
times
is in
one
the
tarnish
that
see
may
relative,
a
advantage;
an
will
you
(the second
same
therefore,
spoken
the
dies melo-
own
first
will
on
worth
similar
your
pedal,
the
holding
Therefore,
art
first
the
editions
an
this
octave;
the
and,
for, although
independent
of
hand
fingers
your
you
note,
once.
are
of
Beware
place
by
the
in to
well,
use
chords
best
is
conquer
you
an
at
the
inversion)
down. nant;
it to
and
part
and
master
regard
the
Listen
tones
two
tenths
two
With
If
your
value
great
once
left-hand
The
much.
so
its
at
notes.
grace
link
and
chords
the
stretch
The
the
legato
second
This
accompaniment.
Release the
of
real
a
changing
down.
are
because
with
on
for
markings
numerous
it
with
the
on
instant.
the
for
get
finger
though
even
have
but
finger,
melody
both
play
not
ing play-
first two
the
in
present
cantabile
the
and
measure; some
chord.
only There
Well-known
274
is
something
rule
is the
not
be
to
that
the
by
Sometimes
weak,
and
the is
consequence a
well?"
dull, neutral
a
of
will
by a
is
against
which
which
as
pedal
warned
pedal
effect
stand
the
is
but
so
pleasant. un-
flesh
the
The
raised.
sufficiently
not
if you
deficiency
a
spirit is willing
is
only-
may
Be
the
so
you
retention
on
the
foot
taste;
moment.
a
The
procedure.
time, such
foot
the
Solos
good
careless
for
of
of
same
a
condoned
hovering
each
it sound
At
muddled
for
law
"does
verdict.
chord
said
unwritten
critically ask, your
be
to
Piano
spoils all, like
fog. The
the
cantabile
chords
enough,
nice
a
In
always
the
on
of
weight
but
not
key
occurs;
8
further.
the
in
At
After
by
a
At
seventh, a
new
is
material
Make
each
little
while
descending.
Energico
phrase
passage
have
to
present
is first louder
is
at
given as
out, of
change
sixteenth-notes will
its
36, in
by
it ascends
uncomfortably
little
added
rights
out
require a
returns,
its full
a
tomed. accus-
is carried
first theme
find
brought
which
with
added
the
grow
be
the
accent
will
you
must
imitation
asserts
the
give just
four
the
from
pedal only
unusual
an
17
inversion,
the
again
the
you
cadenza
which
tenor
Imitation the
and
the
simple
use
7
part is
tenor
21
drawn
measure
which
to
sixths, by At
will
strong
are
be
notes
pedal
supertonic
the
dominant
The
the
over-emphasized.
attention.
Here
slurred
two
desired.
7 and
imitated
and
such
16
of
subjugation
fingers
must
and
4
passing note, In
your
measures
the
your
color
tone
first,and
tone
dissonant
are
:
if
but,
warm
first beat
the
on
largely helped by
beneath;
above.
keys
is
sixth panied accom-
to
D
bile. canta-
minor.
the
tenor.
and
softer
set
for
the
Tschaikovsky piano; but, by nothing
of
hands.
With
steplike the
Here
The of
measures
and
(short
be
tenor
with
lightly
fifth
the
instantaneously
the
this
accomplish
small
make
to
as
be
it would
the
better
beautiful the
In
be
of the
last
may
stretch
be
should
pedal
measure
fourth
For
small
hands
of
so
treble
the
that
than
roughly. throughout In
"
44
the
thirds
the
44
Beware
^' 4' 3'
2-
measures
and
across
very
too
rather
chord.
of
be
proceed
the
are
and
45
leisurely played,
be
hand
and
end
the
it to
note
done
fingered
the
at
may
your
each
and
quite impossible,
note),
43
with
hands
lower
be
for
note
with
note
ninth
a
notes
should
grace
practice.
grace
measure
used
left hand
This
the
should
of
half
last
of abuse
omit
passage
pedal should for the
of
the
(or, possibly
octave
reach
to
all
the
few
careful
by
three
allowing
of children,
last
right hand,
the
and
i.
3,
the
on
occurs
following
the
to
Excepting
finger.
finger
2,
4,
2,
42,
while
of 43,
D
note) above,
grace
of
even.
Here
for
smallest
note
figured
passage
note
275
presents
the
bass
very
42.
lower
the
last
is
tenor
this
but
exactly together, touching
sounded
this
of
41
acciaccatura
to
the
any
the
finger on
should
problem
left hand,
the
in
ascent
the
on
fifth
the
to
movement
real
beat
thumb
the
it
fingering,
for
nature
in F
Paroles
sans
carefully studied
a
frightful
a
glide quickly the
Chant
"
so
retain
the
58,
new
46.
that D
you
in
the
tenor.
The
coda
Execute
manner
as
omit thumb
the
in 41 lower
on
the
to
the .
grace
Again,
note
grace
begin
it be
unless
being introduced, notes.
said
be
may
note,
the
flowing
hand
right
no
clearly,
notes
if the
of the
at
be
hand.
using
2,
in
quarterthe
small, you
3,
same
might
63 place the
At i,
six
material
2
on
the
four
Piano
Well-known
276
work
in
and
In
diminuendo
the
out
beautiful,
follow.
which
sixteenth-notes
Solos
last
the very
ures meas-
carefully.
It
is
Tschai-
of
vein
characteristic
the
eight
kovsky.
6
37, No.
(Barcarolle),Op.
*June
TSCHAIKOVSKY
reverting
Without
the
measure,
of
motion
gondola
a
is also
there
for
accompaniment,
Take
chord.
it
will
make
the
rhythm.
note
falling
of
larger
a
the A
the
indicated,
the
of
half-note
the
to
upsetting
fingers lightly
is
the
on
is thus
motion
rocking
and
begun;
accompaniment,
of the
a
finger, which
the
without
tone,
with
not
notes,
melody
your
of
measures
As
grasp
bell
a
it.
is characteristic
rhythm
four
slurred
the
firm
a
before
and
water
is slurred
next
drop
subduing
the
rhythm.
ring full, with
even
first
the
with
but
the
glides.
the
Then
chord,
rising
first of
this
sharp accent,
in
their
Then
is p.
first note
of
study
by
Begin
of the
canal, but
moonlit
boat
the
barcarolle
a
shimmering,
of
sextuple
suggestion
mere
a
motion
suggests
which
over
a
longer swell,
a
which
phrases,
on
furnished
here
It is not
highest type.
of the
body
has
composer
of
device
threadbare
the
to
halftablished, es-
this of
most
time.
the
is little
There
It
mention. be
in
the
should
"sing"
carefully "phrased
one
be
clear
the
first
and
the
one.
last
firm.
and
note
out."
be
clearly.
Observe
soft,
the
Let
it increase
Let
that
first theme
as
the and
needs
especial
The
slurs
first
note
swell diminish
it is marked.
should of
indicated
each in
gradually Then
use
this
as
of
motives
Its
melody
the
tone
order
in
following
the
the
may
be
notes
and
17,
13
melody
At Italian
At
bringing
enthusiasm,
of
tone
the
of
touch
of the
hand.
Take
lowest
bass
count
will
This
C-sharp.
to
each
chords
finger, not the to
first
the
note,
be
a
a
the
the
chords
and
side it
play
playing
each
from
slowly
one
into
accent
one
with
denza ca-
a
built that a
on
each
crisp of the
movement
note,
up
it with
form
51
clearly
treble
with
out
into
with
and
heard
blurring
highest
11,
ment accompani-
Enter
chords 50
chord,
in
break
boating party
be
ured meas-
duet
require special attention may
;
ascending
the
carefully work
diminished-seventh
arpeggio
here)
voices
syncopated
Measures
them.
above
marks
and
leading
the
becomes
; but
well
out
the
fourth
slight retards
Allegro giocoso.
rollicking chorus.
of
31.
The
the
40
this
that
should
one
theme
subordinate
remain
crescendo.
the
niosso,
melody.
of
grace must
the
piu
Poco
32,
in
and
22,
arpeggio
the
1 1
over
Make
tone.
part of
first
with
and
time
in
out
each
that
indicating
notes,
part
a
others
(four
lines
the
observe
vious pre-
preceding
In
done.
5.
of 7, 8, and
with
the
with
carefully studied
be
in
legato
only
an
the
as
the
in
order
played
be
well
of
of
in
quality
it must
chord
are
top
necessary
same
that
parts should
and,
a
of
phrase; also,
finger
21
is here
upper
beat
fourth the
at
comes
care
be
may
melodic
of
tone
Great
chord.
the
On
accompaniment.
of the
in the
begun notes
lower
two
as
right hand motive
the
the
while
measure,
well
as
first
the
completes
tone
upper
9,
of
careful
Be
part.
"imitations"
left hand
in the
and
short
preserved,
be
should
effect
6, this
5, and
4,
277
the
in
Even
others.
the
for
model
a
(Barcarolle)
June
Tschaikovsky"
from
the
moderato a
sharp
Well-known
278 of
stroke
rapid
sweep
crisp,
clear
obtained
the
which
brief
"obbligato"
The
sustained
which
chords,
in
The
91.
floats
final off
the
Theme, is
accompaniment the
syncopated
interesting be
not
lost
phrase, beginning
while
the
higher accompanying
beat,
tips
of
of the
This
arpeggio
water,
ending
pp
chords
suggestion
a
"
the
the
to
fingers
on
be
may
kept quite subdued.
are
measures
oars.
tones
gradual diminuendo
a
moonlight
silent
52, very
melody
three
shimmering with
be
these
the
the
on
should
ripple
the
thumb,
the
that
care
come
83 there
should of
the
by
of
at
a
effect
First
should
tenor,
descending,
83, will need
bass,
first, and
the
time
the
The
53. at
in
of
return
by
The
the
of the
phrase
than
phrases,
ear.
in
attention.
of
done
instrument.
careful
the
be
harpist plucks
Also,
end
elaborate
more
From
the
the
as
the
speed, watching can
trouble.
prepare
at
the
chord
his
recitative
to
occurs
the
the
requires
deliberately,
to
from
is worth
Take
fingers,
chords
measures
now
the
from
strength
increase
till the
clearness, of
Solos
finger, with
Gradually
for
constantly
two
well-lifted
the
muscles.
finger
Piano
bark
the
as
"Tschai-
is very
kovskian."
The
is well
pedaling A
study.
certain
first
short
phrases,
"strike are
not
theme
so
a
which
players
to
be
a
observe
form
be
may
follow,
them,
of
They clay.
a
have
ascending
careful
sufficiently and to
be
weakness
help
to
signs
to
give
of
and
the
retarded
of
of great
is permissible,
phrases
slightly hurried,
words as
should
elasticity of tempo long
supplied
inclined.
are
those
The
balance."
generously
fail
might
which
in
and
of
amount
especially the
marked
to
expression help.
which soul
Do
young to
what
Tschaikovsky
Troika,
"
Troika,
Op.
No.
37,
Op. 37, No.
11
279
11
TSCHAIKOVSKY
Being of
the
of
one
this
year,
black
three
it is the
really horses
first
which
thing
of each
is very
original; zest
There
is
draw
you to
the
of
a
a
out
feeling the
rule
and
you
the
and
17
chords
is very
the
of
and
air
open
and
motions
of is the
half-note
in the
either
on
legato
strictly sustains the
for
side,
treatment
the
pedal
the
note
marking, At
the
alone, with is better
eye
Measures
page.
sure
highest
part
and
be
accompaniment
Be
half -note.
attention.
especial
the
left-hand
the
on
it.
slur, according
the
to
uncomfortable, than
about
of the
emphasis
study
keyboard
of
covered
rhythm
eighths
eighth-note
and
should
deserve
the
keep
outset
It
of
hoop
a
varied
; the
staccato
of
third
emphasizes
pedal.
the
its
presentment,
curious
two
with
figure.
which
on
and
established
phrase;
with
sleigh
a
occupants
the
attention
month
Troika with
musical
The
each with
the
the
even
depicted.
measure
the
to
how
attracts
middle
adds
is the
Here
be
and
necks,
remarkable can
of
pictures
their
furs.
costly
November
gaily caparisoned
horses,
sleigh-bells over with
Russian
seen
for
written
piano pieces
is the
have
We
scene.
the
8,
12,
Let
the
after-beat
sharp
and
crisp,
but
light. The free we
galloping
chords have
at
right
hand.
in the another
checked
here
heads.
Perhaps
18, is difficult
passage,
into
gait; a
it is
walk,
there
Again,
is
as
though
and, a
hill
at to
30,
because the
at
of the
double
bar,
the
horses
were
they
tossed
their
climb
and
the
fair
Well-known
28o
take
occupants
At
28-29
chords,
this
some
G
but
made
first
aloud,
you As
one.
level, to
in
firm
finger and
the is
there read
sharps; it
but,
measure,
phrase, that
the
then
of much.
like
"an
the
hand
and
make
a
lost
which
sleighing
must at
ad
nice
the
party.
all in
Measure
not
end
be
the
is
each
of
quarter
the
end
At
58
of
take
figure
the
this care
of
prominent.
music
hard
digest
must
rushing too
ing; finger-
double
and
you
lib. at
intimates
Let
50
sharps
right.
the
nervously,
previous
meat,"
the
somewhat
and
the
like
by
about
is held
separately,
out
come
not
of
full
each
is
it.
tinkling
flashing
brought
prefer
tient impa-
are
snow
quickly
strange
Study
it will
in I
horses
hand
change
egg
diminuendo the
the
41
to
of
melody
accompaniment beautiful
need
the
is
drawn At
because
slowly.
the
when
fingers,
no
effect
pretty
able
reached
sleigh-bells
the and
be
has
sleigh the
that
air
frosty
touch.
the
career,
staccato,
the
amplify
to
the
This
diamonds. of
their
resume
continuously
use
48, and
measure
third
the
on
twos.
or
that
them
should
you
threes
surmise
even
at
the
The
count
stop
frequently,
so
either
adjust
to
might
We
in
come
the
"cornered,"
be you
awkward
of
major.
not
if
versation. con-
sure
C
of
notes;
that
make
not
should
11,
leisured
more
two
even
escape
they
properly
the
may
do
and
in
three
really
for
players
major
triplets, appearing
Solos
opportunity
young
of
two
Piano
the
The
ance disappearsuggest
as
Index
Alphabetical
PAGE
Op.
Arabesque,
Op.
Aufschwung, Op.
Automne, Ave
No.
Op.
38,
Berceuse,
Op.
57.
in
BirdUng,
Op.
140
89 16
Bach
Op.
82.
No.
4.
260
Schumann
Grieg
i44
Scarlatti
Op.
Chaconne
in
Chant
229
Grieg
43.
in
Song,
Airs
Deux
Arabesques,
No.
Arabesques,
No.
Russes.
Etude
de
Etude
in
Op.
No.
Valse,
in
Harmonious
G
Flat,
Op.
Op.
Hungarian
2.
273 26
270
Debussy
112
Debussy
115
73,
No.
Moszkowski
i.
Moszkowski
6.
No.
200
Dance,
Chopin
5.
91
Bach
17
Durand
121
Bach
Suites).
loi.
No.
20
158
Handel
Blacksmith.
Op.
198
217 10,
83.
(French
Humoresque,
Tschaikovsky
3.
Ravina
Chroraatica.
Fantasia
i
Op.
36,
Style. G
No.
2,
.
Venetienne,
Etincelles,
Op.
Thalberg
Deux
Esquisse
F,
156
Handel
Barili
18.
Op.
141
III).
(Legons
G
Paroles
Sans
Cradle
Gigue
Grieg
Chopin
43,
Butterfly,
First
238
i.
Minor.
A
Burlesca.
Deux
80
Chaminade
2.
No.
Prophet,
as
244
Schubert-Liszt
Berceuse,
Bird
241
Schumann
12.
35,
Maria.
Bourree
Schumann
i8.
No. 7.
7.
Dvorak
123
76
Brahms-Philipp
Impromptu
in
A
Flat,
Op.
90,
Impromptu
in
A
Flat,
Op.
182.
No.
4.
Schubert 281
Schubert
234
236
Index
Alphabetical
282
PAGE
In
der
In
Mine
June
Op.
Nacht, Own
No.
12,
(Bacarolle), Op.
Chasse,
Op.
La
Fileuse,
Op.
La
Plusque
Lente-Valse.
La
Sympathie,
Last
Op.
Coucou.
Le
Papillon, Op. in
Mazurka,
Op.
Melodic,
Op.
Op.
Op.
No.
First
No.
Op.
Nocturne
in F
Nocturne
in G,
"Once
in
"
C
166 208
Minor,
Sharp
Pastorale
Pierettc,
c
Op.
No.
27,
2.
Presto
"
31
"
33
"
35
23,
Op.
i75
No.
4.
Major, 37,
No.
Procession, 21,
Op. Time"
No.
61, No. and
Schumann
Op.
15,
249
No.
2.
Chopin
93
96
Chopin
2.
Op. i.
2.
19,
No.
2.
Grieg
148
Schumann
251
1S6
Macdowell
"Puck,"
Op.
Grieg Papillons, Op.
Op.
Sostenuto"
"Allegretto
"
Sharp
a
204
Laidow
Rabbit, upon
Mozart-Schulhoff
29
Adagio
"
in F, Op.
Novellette
206
:
Bridal
Norwegian
222
Beethoven
2.
Movement
Nachtstiick,
Rubinstein
Paderewski
"
The.
184
Jensen
3.
Movement
Box,
67
Macdowell
Flat).
i.
Movement
Third
22
Paderewski
2.
Sonata"
Second
Bach
Borowski
i.
in E
No.
Suite).
3.
No.
No.
14,
171
Minor.
3,
17,
Moonlight
B'rer
154
Violoncello
Beethoven
Of
116
Lavallee
16, No.
in G,
Music
215
13
(Symphony
Mill, The,
"
Raff
136
55,
F, Op.
in
Minuet
219
Gutmann
in C
Op.
Minuet,
276
Debussy
18.
2,
MDCXX,"
Menuet
Tschaikovsky
6.
2.
39.
(Third
G
Melodic
143
Arenski
Le
"
Grieg
3.
Rheinberger
i.
No.
157,
246
Gottschalk
Hope.
Loure
No.
No.
43,
No.
37,
La
5,
5.
Op.
Country,
Schumann
71,
Nos.
i
and
3.
I45 2.
Schumann
Capriccio. 41
Scarlatti-Tausig
Chaminade .
253 23
1
82
Index
Alphabetical
283 FAGS
Pizzicati
"
from
Polish
Chivalry.
Polish
Dance,
Polonaise
C
Op.
Prelude
No.
3,
Flat, No.
17.
Op.
in E
Romance
Romance, Rustle
of
Op.
98 loi
103
No.
3,
2.
RachrnaniuolT .
.
2,
No.
24,
Henselt
4. No.
44,
Rubinstein
i.
225
Sibelius
9.
265 32,
No.
Sind-
3.
ing
267
Salut
d'Amour,
Scarf
Dance
Op.
Picture,
Mazurka,
Op.
Second
Nocturne,
Op.
Second
Valse,
Op.
Serenade,
Op.
29.
Serenata,
Op.
15,
Sonata
Song, in A
First
A, Op. 54. 12.
No.
31,
84
2.
Macdowell
182
Godard
128
Leschetizky
173 130
Chaminade No.
Op.
No.
124,
Flat, Op.
"
Schumann
16.
Andante
"
201
258
Beethoven:
26.
" "
"
Movement
86
Moszkowski
i.
Movement
Third
Chaminade
Godard
56.
Movement
Second
126
Ballet).
de
Second
Slumber
Elgar
12.
(Scene
Tone
Scottish
"
38
"
Scherzo
41
Marcia
"
variazioni
con
Funebre
sulla
Morte
d'un
Eroe" Fourth Sonata
First
43 "
Movement
in E
"
Flat, Op.
Movement
Second Third
"Sonata
"
Movement
"
44 Beethoven:
3.
46 "
Scherzo
48
"
"
Menuetto
"
"
Movement
Movement
"
"Allegro"
"
Pathetique"
First
Allegro No.
31, "
Movement
Fourth
213
163
(Friihlingsrauschen), Op.
Spring
.
i77
No.
Flat, Op.
Op.
Chopin
Liszt
d'Amour,
Repos
232
Chopin
Minor,
Veneziana.
Regata
Op.
26.
Chopin
15.
Sharp
Scharwenka
i.
Minor,
28, No.
in C
119 211
Sharp
in A
Prelude,
Delibes
Pieczonka
Op.
in
Prelude
Sylvia."
in C "
Presto
Fuoco
con
Minor,
Grave
"
52
Op.
"
and
13. "
Molto
"
54 Beethoven:
Allegro
e
con
Brio" 57
Second Third
"
Movement Movement
"
" "
"
Adagio
Rondo
60 "
62
Alphabetical
284
Index
PAGE
Spinning
(Songs
Song
To
a
in
Wild
Troika Trot
Flat,
A
Op.
(November), du
Valse
Chromatique,
Valse
in
A
Minor,
Valse
in
C
Sharp
Valse
in
D
Valse
Mignonne,
Op.
i.
37,
Mendelssohn
Heller
3.
Op.
88.
Macdowell
i.
Op. Op.
Fugue
Op.
64,
No.
16,
on
No.
a
Macdowell
189
No.
Tschaikovsky
11.
279
227
168 Godard
133
64,
104 No.
Chopin
2.
106
Chopin
i.
108
Sciihtt
2.
263
Theme,
Handel
Op.
24.
Liszt
Day
at
Troldhaugen,
194
188
Chopin
34.
Minor,
Flat,
192
160
Lack
82.
Op.
Waldesrauchen.
Wedding
Mendelssohn
Rubinstein
Arabesque,
and
No.
Op.
Cavalerie.
Valse
Variations
34).
30).
No.
No.
85,
51,
No.
55,
Words,
Op.
Op.
Rose,
Sea,
the
No.
65 Without
(Songs
Song
Tarantella To
Words,
Bendcl
Spinnriidchen.
Spring
Without
Brahms
71
179
Op.
65,
No.
6.
Grieg
150
