Well-Known Piano Solos

August 7, 2017 | Author: Fabrizio Festa | Category: Suite (Music), Chord (Music), Piano, Johann Sebastian Bach, Tempo
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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

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;

to

the

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American

in

printing

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between

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abbreviating

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rest

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its two

been

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of

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his advice.

adapted

to

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standard

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will

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sometimes

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of

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counted

bar,

work,

interpolations

as

passages

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matter

to

an

any

difficulty,from

best

made

sometimes

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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

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note

lift the

so

two

man

call, the

struck

be

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At

the

slight

halt

will

You

can

perform.

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should

B

before

the

f,

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D,

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simply

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delete

the

chief

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It is not

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There

position

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of

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a

bring

about

chord,

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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

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believe

from

this there

and

Probably

self-conscious.

be

piece.

Some

but

not

only,

beginner,

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chords

may

a

memory.

through

say.

never

make

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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

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ax

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corporal

Red

be

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play

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the

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sequence

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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

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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

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the

of

strain

this,

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renew

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apparently with

pulse this

One

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itinerant until

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dance

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lovely feature

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Gavotte,

them

Spain,

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learn

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*

Cradle

Op.

Song,

18

BARILI

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2

No.

G,

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Minuet

BEETHOVEN of

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of

note

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as

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hurry!

clear

cut,

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realize

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ting sit-

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Solos

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30

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Measure

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harmony.

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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

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balance

any

roughness,

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to

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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

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in

the

aim

if you

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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

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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

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fingers

the

Piano

should

notes

the

legato

effect

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are

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notes

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in

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of

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absence.

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bind

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again,

together;

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at

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second

phrase

from

its previous

so

sliding finger

a

insure

to

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pedal

effective,

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The

cleanly.

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possible, a finger

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used. The

form

clear-cut

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first

movement

the

cool

petals

fall

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on

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with

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ceive con-

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appear

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take

allegretto akin garden

rose

This

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lawn.

you

as

off

Indeed,

pervade

dewy

a

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might

you

should

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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

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no

this

The

in

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depth

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movements

on

of

mind of

Young

often

object, however,

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great one

by this word,

out."

foster

this wonderful

as

"expression."

own

worried

are

been

have

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all your

"press

to

correctly

as

can,

the

feeling reason

either

to

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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

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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

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fail in

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quisite re-

Piano

Well-kno^\'Tl

36 And is

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It

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measures

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181,

third

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music,

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two

on

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the

The

beat

in

if your A

curious

10,

B

hand

in

movement

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is at

the

suggested; of

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measure

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Both

fingerings for prefer

1 1

; two

be

i,

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i,

down; on

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thumbs

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9, and

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practiced slowly,

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and

9

two

keyboard,

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17

at

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178

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keys),

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7

Neapolitan

of

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seventh,

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final

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key, major

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keys.

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movement,

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black

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Beethoven

unusual

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''Moonlight Sonata"

"

it

is.

Sometimes

37

absolutely-

they

rebel.

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second

four

for

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pressed

for

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suffice; that write

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cantabile

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quarter-note.

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keys;

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33

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; but

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four-note

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tempo

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each

to

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with

and

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note

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trill at

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cantabile as

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76, the

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be

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out

scale

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there cadenza

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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

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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

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apply

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on

the

bow

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mistake

melody

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same

instant.

the

out,

holding editor

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the

voice third

of A-flat

forbids

in

in

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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

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and

short

signifiedcan

hold

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knows,

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of

should

is to

writer

too

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voice, but

or

in the

firm

the

the

parts,

instrument

an

will find

signs

both

to

in tone,

decreases

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crescendo

you

me

played

is

ten,

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the

measures

the

early

manuscript

his

before

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out

A-flat

in

marks,

edition

Cotta

marked

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by

stantly con-

intended.

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cases

the

strings

the

other

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additional

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composer

note

embellishing

curves

Beethoven,

printed proofs; so

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to

mind.

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cases

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best

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notes

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player

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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

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greatest possible exuberance.

really

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play

running

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until

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ff trio

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"oily"

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its

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quite

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the

take.

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verve

satisfied,

they truly

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and,

go.

only by

never

and

string

and

overcome

"

in

plished accom-

the

give

part may

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grip of

and

performer,

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with

melody

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played

motion,

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difficulties

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necessary

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seeking

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in tone

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quartet

piece,

with

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sonata

light, gay

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it should

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left hand

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ability; the

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play

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and

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"

even

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if the

requisite speed

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42

(molto),

clean

Perfect

diminuendo

of sixteen

pedal

the

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of

music

classical

indeed,

to on

from

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of

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notes

in

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are

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and

measure,

hand

so

proficient the

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high

; but

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key.

second

without

be

at

octaves

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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

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appreciate

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form

scherzo

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put

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mostly

are

upon

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the

time

eccentric,

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mark

must

not

one

loosely vibrating wrist, down

depend

octave

unfortunates

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and

wrist,

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way,

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feature,

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me

Let

arms.

coming

and

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as

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resort

for

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in the the

by

pattern

at

duly

manner.

left,the

organists

remaining

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sf, which

the

are

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either.

to

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to

hand

instrument

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and

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from

swing

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interest

and

at

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unmistakable

such

sf be placed right a

last

in

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kept,

a

accents,

music

all time.

with

as

being

tempo

aimed

where,

marked

strongly

the

be

measures,

employed

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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

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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

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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

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of

of

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a

up

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the

on

exuberance

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if the

as

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in

out

grave

by such

almost

seem

sketched

ready

them

from

go

put aside

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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

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at

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few

owing

of

rigor

martial in

chord, is at

but

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bass.

of

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in

major

brushed

aside At

with

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sharps, it

three

those double

the

if you

the

gleam by

away

chord ; but

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temporary

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chased

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Cotta

the

sternness.

25,

wind

beautiful be

to

pp,

crisp.

if for

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notice.

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very

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measure

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chord

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at

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music

the

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hurried;

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acute

an

respect.

be

not

pointed

are

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lapse

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4

need

players

in this

discrepancy

any

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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

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contained which

will

give

dominant

key

a

answered The

student

second

scale

the

in

in the

figure,

a

student

figure starting

little

and

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right hand

the

the

on

sequence.

tenor,

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tation imi-

being

left.

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by

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difficulty. The

throughout,

on

this

make

which

notes

repeated

is then

passage

subject of

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the

to

descending

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is insisted

the

four

help noticing this

cannot

scale

first

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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.

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beginning

each

passages

on

a

thhd

higher. middle

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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

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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

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note.

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nasty"

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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

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teacher,

wrist

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then

in

places

passage

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painstaking

well

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change

the

prefer

painstaking

of

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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.

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change

of

There

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use

attack

fresh

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31,

preferably by three,

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instance,

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edition.

Cotta

the

be

Flat, Op.

procedure

For

note.

should

subject

in E

Sonata

"

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tions, repeti-

alight

on

F

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56 All these the

points

instance, harder

because

less

have

The

secure.

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firmly established

much

more

283,

Those be

must must

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joint.

hardest

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return

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inserted

written

F

as

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turn, Here

the

the

until

diminished

have

of the

is

284, 285; two

out

in

beginning

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as

and,

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"agitato"

follow

84,

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90,

its

in

which,

modulations

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out

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largely the

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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

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as

flat chord

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passage,

the

"

to

is left to

student

himself

bar

flat, in

sharp,

the

superimposed.

flat.

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on

tonic, G

new

for

B

and

play neatly, particularly

flat is brushed

on

"

therefore,

B

more

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sequential

keys

especially

still

is

241

the

right hand,

but

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keyboard,

previous

measures,

double

the

to

seventh

the

is

hand,

the

measures

the

left

subject, To

first two

of

of

part

of

and,

mind;

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288,

in

taken

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nor

two

hold

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on

than

used

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page

in

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narrower

be

after

intensified.

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chord

on

in

arpeggio

noticed

in the

difficulty is

fingers have

the

Solos

restudied

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extended

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will

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must

where

movement

Piano

down

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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;

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today,

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readers third

is

note

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from

esthetic

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(half-step) less

know

days

this

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to

in the

minor the

from

music,

general

on

ing mean-

and

tion." "diminu-

words

were

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intelligible than for of

benefit

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C, for

of

instance,

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the

scale, E flat,a semitone C,

keynote of

structure

it strikes

English

lesser third."

more

scale

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technical

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grammar

common

easier

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explain

major

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reflection

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In

;

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ing key be-

brothers

senior

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high school

minor

and

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where

school,

at

and

designated major

school

minor

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the

"ragtime."

boy

a

with

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brio"

con

mood

pathetic

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ear,

a

minor

should

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scale, culti-

Well-known

58 in all

vated

people

quite

feel

fight shy

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home

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tonic

sol-fa

minor

scale

mode are

prefer

to

less to

mood,

a

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mood

major

represents

optimism;

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gloom

and

sonata

and

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pessimism. will

you

at

the

musical

sounds

but

also

the

speed.

slow

gaiety,

eager

in this

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and

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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

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in

halting tancy, expec-

infinite

such

measure

eighth-note Test

kept;

inclined

and

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ronome, met-

there

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with

modify

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you

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complicated

eighth-note.

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in

tion, addi-

In

arouses

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measure

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this

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gives when

case

of

reverse.

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contrast,

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dignity

as

of

in the

cut

the

shine sun-

solemnity,

to

always

Beethoven

it bit

measurement

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depression,

But

conducive

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take

to

measure,

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that

first chord

Running

"time"

is advisable,

always

the

upward

the

usual

Strike

slow

a

force

by

impetuous

Pupils

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of

mood

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here

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indecision,

and

the

of elation,

feel this true.

introduction

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leave

this latter

mood

a

minor,

once

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concerned.

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of

and

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chance.

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and

and

in

teachers

easily satisfied,

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plaintive mode,

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worse

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But,

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minor,

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in

classes

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schools;

elementary

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Solos

Piano

at

the are

10,

in tlie Cotta

Beethoven

edition

"Sonata

"

insists

Fortunately,

passages.

almost this I

instructive

point

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tailed

note

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rather

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cannot

is

end

are

three

worth

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too

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tempo,

four

not

than

too

in

at

rests

4

9,

the

at

the

indiscriminate

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other,

any

three-

chords

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taken

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legato

; and

soon

more

third

the

of

eight

to

get them

demands

of

perfect,

the second the

keeping

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solo

crossed

bit

and

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slight cautious

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commendable.

and

of

minor

(that

be

groups,

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slower;

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cases

work)

hand

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innovation

both

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subject.

pathetic mood

retains

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cadenza

first

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excusable

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up

composer in

a

scale

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hesitancy,

tempo

subject

if

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than

more

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of

way

all

back

bringing

measures

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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,

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allegro second

By

may

proof.

the

your

is

connected.

measure,

metronome

in

and

begun

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introduction,

"grave"

delayed.

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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

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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

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from

playing

pathetic

so

note

of

is

must

you

ment, instru-

your

human

sympathetic full

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It is easier

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unless

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few

pianist against

young

chords.

difficult

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for all time.

the

after

Here

your

tone-poet

really

only

or

key;

men

warn

slightly

off."

heart

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laughter, especially

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right hand,

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has

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inadequacy

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arpeggioing

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received

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gently sings

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tears

mentally

assuredly

to

message

deep

keyboard

hear

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adagio brings

soul

; the

"Adagio"

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convulsive

this

movement,

of

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others,

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parts

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individualize

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Still, if you

Beethoven

hold

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keyboard

discretion.

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would

would

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notes

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pedal

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of my

on

Berlin

"Hiibscher!

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prettier!"

when

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piece,

obbligato

C

he

E

flat.

sor, profes-

hiibscher!"

expected

chords

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hands.

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in

more

figure

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50,

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be

notes

where

modified

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to

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monic enharnext

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46, we

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note

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measure

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measures

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flat in 41

in

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cello

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measure.

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measures

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two

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the

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measure

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editions

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to

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at

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register.

word

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be

doubled,

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down

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in C

Pathetique"

quarter-notes

sixteenths, of the

"Sonata

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ishes dimin-

notes

at

groups

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62

threes;

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compositions

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throughout

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self-extracted add

to

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Words,

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Sonata

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Pathetique"

in

the

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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

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a

These

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set

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eight

note measures

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in

foot-notes

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See

to

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5,

begin with

but

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show

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by

measures,

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up

chord.

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notes,

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prove

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complete

measure,

editions

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but

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with

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distinguishing feature

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rondo;

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Rondo

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workmanship

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refined

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Movement

at

19

lower, form

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by a a

Beethoven

"Sonata

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bridge, leading

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to

across

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63 tive rela-

in the

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chord when

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note,

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introduction,

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out

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the

keep

49

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47

tional addi-

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the

of G

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BOROWSKI

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of Theme

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Solos

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Op.

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variation.

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XVIII

XVII, Siciliana

and

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separate

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73

24

its resolute

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Well-known

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66,

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Hungarian

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Dance,

7

BRAHMS-PHILIPP

HIS,

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verve

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35, No.

Op.

Automne,

2

CHAMINADE this

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be

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In

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38, lettingthe

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than

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Well-known

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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

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woman

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regard

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instance

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"one

finds

its

vivacious to

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tion exemplifica-

drawing-room

conversation

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; we

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playing of such

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relief is

Chaminade

making

grand

for

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herself Pierette

Chaminade

French

In

the

by

in the

; and

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This

At

notes.

finger.

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from

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the

make

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in the chord

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of

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27

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on

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a

the 29

if you

keyboard, of the

fingers,you

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on

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study

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away

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(at 22), separate

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notes

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hand

left hand.

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used

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Mme.

26

and

It is said

portrait.

musical at

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Pierette

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and

airy sprightliness, gaiety, modem

83

41

characteristics

French

best

all the

reveals

Pierette, Op.

"

where

tive consecu-

are

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welcome un-

There

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and

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touch

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of

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by

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use

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77

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silence."

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middle

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in

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The

measure.

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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

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type, its strict adherence of

the

devotee

two

short

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harmony

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opening

alone.

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hand;

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tied back

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natural

to

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should

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the

melody

comes

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note

while

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the and

touch

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direction sounded

chord

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sustained

previous

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the

chord

the

hands

the

second to

38 and

measure,

to

notes,

all

and 39 an

chords

seven

emphasizing

hear

in

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half-

36, the

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light

a

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measure.

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Then

following B-flat,

the

beat end

the

first

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six notes;

of notes of

but

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Be

chord

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to

accompaniment.

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on

in

measure;

right thumb

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and,

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left hand,

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enters.

crisp staccato,

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tones

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stems

and

12,

notation

in

half -notes;

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are

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is divided

the

natural;

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earlier

6, 9, chord

previous

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quently Fre-

down

is natural

for the

played by

measure

second

eighth-note

the

is

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the

overlapping

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of

treble

5,

3,

point

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legato phrase

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first chord

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holds

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4, the

nice

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inserted

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of the

in

measure

the

measures

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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

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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,

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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

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danseuse.

of the

The in

aid

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9-10;

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the

balance

to

should

them

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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

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sufl"cient first

Also, the

rhythm in

elastic, suggesting

chord

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62.

to

59

ritardando

a

each

till the

this

"

have

and

at

to

eighth-notes.

need

gradually quickened

hurrying.

legato,

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of

will

43,

mordent

the

passage

premiere

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allow,

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be

Solos

not

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those

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measures

of

beginning

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do

39,

evenness

measures,

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in

Piano

time

measures

of rallentando. The

second

with

movement,

finger

theme,

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a

Use

staccato.

marked.

to

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to

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slight ritardando in

pedal

no

Observe,

dynamics,

48, should

avoid

in 40,

this

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the

throughout,

erning gov-

in power.

monotony

Serenade,

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which

Op. 29

CHAMINADE For

those

here

is

that

the

any It

a

sense

charming tune

same

of

is most

sustained

who

love

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without

words"

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artistically constructed; on

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who

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Chaminade

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notes

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play it, clear

you

requires

pages,

nursed

needs

accompaniment

The

noticeable. three

of two

languorous

as

have

we

measures

and

eighth-notes

the

times.

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At

only shyly,

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17,

for the

of this

tenor

melody

cadences,

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the

21

attention;

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the

tone

to

22

enable

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melody

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cases an

forward,

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20,

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up

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by

real

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; this

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worth

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Try

to

hardly

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keep and At if

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to

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a

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initial

should

Remember

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voice,

two

eighth-notes quite delicate pizzicato

clear.

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legato

slight

a

made

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treated

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The

steps firmly in.

marcato

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a

phrase repeated

12

finger-marks

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to

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measure

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the

color

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the

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measure

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few

a

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The

those

measure

taught you

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quarter,

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theme

same

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notes.

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in

alteration

slight

the

for

these

of

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not

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to render

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quarter-notes

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chord

light

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a

"

two

a

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for

justice.

now

self-control

fingers need

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only

pretty

it

and

under-melody

How

parts.

motive

10

bass

the

time

do

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but

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undisturbed

above

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course

finger

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87

29

listeners.

your

its

clinging fingers,

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same

to

runs

melody,

the

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cantahile, which

The five

help

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Serenade, Op.

"

a

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violon-

Well-kno\Mi

88

The

cello.

place real

thumb

fourteen

with

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it

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B-flat

major

the

voices,

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in

make

49

you

pedal,

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second

the

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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

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new

sang

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before

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fifth;

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tonic.

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sounds

thumb

pleasant

;

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divided

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to

melody,

practiced

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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

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just

hums

Use

both

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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

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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

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of

most

a

inexhaustible.

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harmony

in

dominant

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left-hand

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in

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at

in

As

Only

the

though

successful

her

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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

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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,

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get

tone.

play

dissonances,

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ascending

Ear

keyboard.

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with

begins

finger on

rendering.

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triad

ful, care-

top of each

accent

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you

then

Be

understand

in

tonic

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the

will

27,

of

procedure

same

G-flat, and 28

to

You

extensions,

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tend

in

accent

third

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of four.

the

whatever

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at

it is when

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the

use

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careless

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G-flats, and

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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.

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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

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of

T)^ where accent

with

to

the beats

the

in

second

companiment. ac-

at

23,

the

on

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notes,

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twos,

Do

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measure

thumb

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This

any

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the on

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of

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sixteenth-note be

If you

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begin

practice

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foot be

reverse

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with

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passage.

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the

way,

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fingering from

different

your may

if you

on

and

of

beat

To

to

tire, then

to

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similar

another

quite

get

or

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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

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measure

The

begins

fourth

the

left hand

my

so

the

to

of

use

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hand

third

"wheel."

another

to

first

2.

hand

the

first

fingering in

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measure

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your

triplet fingered

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attention

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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

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the

fit the

try their

to

It

velvet

the

on

never

such

touch,

bedecked

sunset

could

Chopin

transient

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come

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instance,

said

and

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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

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dry bones

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voice

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supple

as

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wonder

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to

times

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creation, but

at

what

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you

how

Besides,

hand,

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of rebellion

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Chopin's

pianoforte.

from

the

Solos

Lady

My

appealing

so

captive,

welcomes

of

aroma

smoke,

strong

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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

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the

the

after,

only

better

Let

unfold

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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

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Valse,

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83

Op.

DURAND

HIS

music

composer's fills

pianist's

repertoire; Chopin

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note

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A-flat, Op. 42.

when

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still

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Chopin

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Well-known

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first four

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127,

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124

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115,

116, fingered 4-2,

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black

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study. whole

101, No.

Op.

finger

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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

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of

half-note.

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on

the

Keep

nicely gradated piquant

each

may

3

thumb

simple

finger an

if

and,

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me

the

measure

gliding

find

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begin

attract

finger

rustic

Dvorak's

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and

the

stopping"

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note,

characteristic

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of

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reflects

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finger. note,

other

two

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passage

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detached;

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end

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sixteenth-notes

thirty-second

fingering

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at

G,

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fmger

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note,

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treatment.

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and

character

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of

way

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bow,

note

each

roughly

entrance,

The

ness.

Use

of

shorten

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slurred,

Make

it.

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the

is to

music,

notes

the

every

best

piano But

Beware

pencil.

The

the

of

that

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should

notes

indicates

the

on

all

draw

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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

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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,

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stationary

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the

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to

Solos

marvellous

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movement

a

in

Piano

bar,

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13.

be

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10,

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In

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143

like gossamer.

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the

Country should

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Own

accompaniment

ascending

Every

Mine

In

"

Country, Op. 43, No.

Own

3

GRIEG This

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Piano

Well-known

144

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;

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and

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rare

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appreciate

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Birdling, Op. 43,

4

No.

GRIEG The

twitter

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als

Prophet"

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to

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But

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14,

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final

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to

through

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sixth

the

sixteenth

the

place

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'Tuck"

and

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is carried

rhythm

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another

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a

upon

Upon

1 and

Nos.

Op. 71,

"Puck,"

and

Time'*

a

3

GRIEG child

Most

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This

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In

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:

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wind

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glide along

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charming

a

off the

sets

one

First, notice

a

Piano

Well-known

146

of the

as

vidual indi-

part-writing. The

holding

unclean

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or

playing

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the

F

out

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key,

the

the

beginning F

the

major

chord

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particularly

2

the

the

Old

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so

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note

of

easy.

startle;

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measure

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rather

measure

study

measure

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beginning

of

you

together, which

progressions

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by

parts

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and

soon;

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right

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rectified

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players is either

young

releasing

instance,

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are

all

or

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There

for

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long,

too

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of Bach. 3,

note

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of

defects

chief

two

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C

"Animato";

the

flavor

World

above

mentioned. The

pedal

change each

will

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strangely

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measure.

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the

callous

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listen

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four

are

wary

than

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for

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the

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the

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and

score,

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fifths

in

notes

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of

rocks

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and

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pipe

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in

full

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music,

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ures meas-

the

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"

in.

bass

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come

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yet

next;

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beginning

the

measure,

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give

the

on

droning

the

and

at

sharp flats

The

147

the

in

superfluous,

necessary.

sharp

the

three

seem

dance

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and

count

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part

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a

of

caverns

with

leap

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dexterity. The

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affects

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clash!

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suppressed

curious

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romantic One

time," the

coloring word even

bass, further

of

a

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note

on

which

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steps

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bar!

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the

; all

which

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give

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is, "keep

halting

taken

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descending,

as

double

Grieg

the

score

the

in

apart,

on

then

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like

notes

grumblings,

the

which,

the

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at

by

those

which

fourth

the

fairies!

hill

caution,

mountain.

reach

and

moan

safely struck

most

of

like

up

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mystery

mutterings

mountmg and

music

droll

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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

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those

the

of

bulent tur-

a

real

and in

shots and

guns

for

porch

tradition

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a

riages mar-

congregation;

of

of

really

security,

when

firing

arms, fire-

Christianity,

influence

the

attended,

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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

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some

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and,

rushings, with

raised

of

of

ever-present

introduction

could

we

wedding

excited

of

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men;

axes

thought

the

feature

every

is

dominates

generally performed

times

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which

the

armed

were

we

is that

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country

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violin

another

occasions.

such

long

was,

a

its

melody

explosions

or

also

are

on

bar

vitality

beats,

are

violin

from

hearing

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accompaniment

unceasing Drum

mountains.

"perky"

the

is taken

within

yourself

the

over

festivity; the this.

which

humoresque,

and

pistols, for

the

bride."

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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

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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

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counts

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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

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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

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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

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fired

off

let

like

cranky Use

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with At

test.

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right.

and

this time

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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

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pedal

in

treatment

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74, be

molto

means

ritardando. of all

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good

hand,

end

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86.

the

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at

end,

of

mountains,

which

in

by

volume

of

right

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place

sound

toward

tone, between

passing

the

of my

second,

the

at

procession

fingering

that

the

only the

intelligible.

are

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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

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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;

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to

the

and

and,

30

it is four

count

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in

is small

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with

of

the with

the on

short the

too,

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of

good

comfort

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able

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solve

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ward, Aftermay

arpeggios, sound

You

would

measure.

rallentandos

in

indicator

march

relied each

aloud

"gift

heartless

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be

written

if familiar

length

bravely

satisfaction,

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may

appear

you

rhythm.

I know

piece through

the

course,

and

but

is such

beginning

that

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full

counting

feel the

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ability,even

of

head,

which

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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

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strongly /^^Z it; then,

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the

is

half-beat

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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,

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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;

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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,

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their

polite

society.

pedal,

always

we

kind

strings, this

in

refrain

wind-up

intermittent

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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

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so

lifelong?

phrases,

four-measure 17.

It

and

crescendo

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all like

is

it

might

acquire

violinists

that

melody

thing

graceful

a

dislike

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rising

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with

much

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seem

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into

fall

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Gutmann's

played,

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of

ladies

pen.

touch.

light, rippling correctness

outset,

phrase

master's

his

to

well

when

and,

attempt;

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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

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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

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little

this

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small

in

and,

desired: dwell

the

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the

on

tied,

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and

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91

elegant

sixths,

in

gives

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somewhat,

At

sound

to

figure

pretty

either

on

ritardando,

dolce.

the

beginning should

notes

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from

on

time.

and

tone

and

diminuendo

85

quarter-notes

of

quite apart

phrase

before

pause

four

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slur.

long

level

dull

one

key of D-flat

rare

one

"

of

link

the

spoil

both

Make

side.

phrasing

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keeping

by

in the

is written

70

to

mostly

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at

24.

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then

ness light-

figure

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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

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theme

rocking

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is

168

a

it

Obbligato

interprets all kinds,

keyboard

to

Coda

begin

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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,

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the

certain

a

accompaniment;

instrumental

The

for

Chopin.

softly as

as

in

repeated

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so-called

'cello); and

the

and

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of Weber's

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play

suggestive

as

valse

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as

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135

These

separately

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the

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you

before

obbligato instrument

same

the

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the

highest

contour

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memory.

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be four

the

each

on

pause

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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,

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who

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the

purpose;

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having

theme

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for

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in

ground

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chord, harpsi-

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present

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uppcnnost,

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In

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play

the

subject

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Elizabeth's

Queen

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at

popular

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themselves.

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read:

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broken

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;

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

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thin

of

tone

the

whistle

tin

known

folk

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old

saying

bits

from

the

the used

women

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they

"unco'

in

notes

grace

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Farmer,

singing

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John

when

tistic, ar-

certain

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to

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master,

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the

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to

Perhaps

wondrous

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fioriture

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the

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agremens

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in

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other,

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measures

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much

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contemporary. never

of

theme

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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

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too

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the

nine

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scales

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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

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chord. harpsi-

or

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ease

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drawing-room

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known

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it

Handel

Queen as

a

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at

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is

the

and

which

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out

was

him

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stroke

every On it

to

also

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melody

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agreeable

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who

blacksmith,

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making

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caught

little

ard) Stand-

Musical

Edgw'are,

near

work,

with

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rain, which

of

shop

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in

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day

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shower

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at

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hammer

with

"One

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the

a

in

shelter

parish

in

chapel

overtaken

the

the

times

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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

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The

Pieces

fact, while

himself

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de

old-fashioned

ornamental

highly

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time,

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and

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a

Recitalists

know

program.

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"hammer

strictly the

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the air

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gives of

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music to,

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listen

to

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relief which

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adheres the

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John

I

"good."

impromptu

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enliven

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They

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sad,

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they felt particularly heard

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to

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give the

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a

character

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to

that

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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

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Blacksmith

Those

curious.

remember

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Harmonius

"

effect.

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indifferent

aid;

without

while,

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neatness

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and

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the

tied

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you

played play

with

each

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those

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variations

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; then

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is attained

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study

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them.

all be

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way

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repeat

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hand

touch;

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finger staccato,

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the

of

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notes

whatever

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good

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So

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.

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.

mentioned

story held

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of

origin.

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Ed.)

bit

of

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plausibility

in

or

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the

treble

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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

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to

supposed

name.

leaps

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of

motion

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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

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music.

third

space

of

indicate

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the

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measure

first

lightly,

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contrast

it

160

the

on

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measure.

of

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attention

sforzando

strong

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at

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derives

in

the

of

particular

bars

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dance

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restless

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measure.

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without

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by

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next

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measure

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of

marked

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characterized

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a

in

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measure.

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is

dance

Italian

to

execution

tella taran-

qualities:

two

upon

of

neatness

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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

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Beginning

three

counts

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first

four

of

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let the

finger

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in

the

syncopated In

which

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four

times

ben

hand

the

that

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23

the

eight

right

lightly In

the

24

pronunziato,

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hand.

all

these

add so

then

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four-measure

of

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measure

them

Stress

contrast.

hand,

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but

right

the

a

regular

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piece

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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

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the

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than

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begins

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107.

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difficulty

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speed.

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Piano

Well-known

62

the

final

chord.

d'Amour,

Repos

Op.

4

2, No.

HENSKLT HE

song"

adherence

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low

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by

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; but

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pianists

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notes

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d' Amour,

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the

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composer's omit

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The

Mill,

Op.

17, No.

3

JENSEN HIS

demonstrative

happy, in

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the

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measure

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167

3

thumb;

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motion.

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watching

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still more,

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F.

on

No.

17,

hand

right

no

use

notes

eye

Mill, Op.

The

"

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pretty

piece,

miller

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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

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more

faculty, developed

by

ear;

music;

piece

of

finger

memory.

The

the

thing

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note

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myself, be

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root

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ninth,

sake

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1

68

I

gins, be-

have

perienced ex-

first

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simplicity,

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case

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chord,

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the

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the

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sixteen

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169

and

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triad

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Op.

Arabesque,

form

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the notes

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Papillon,

Le

Op.

18

heard

on

LAVALLEE

HIS

is

piece

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piano-players,

and

Still, there

ease.

ness"

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26.

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tering, flut-

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sixth, C the

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sharp;

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Second

Nocturne,

12

Op.

LESCHETIZKY E

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179

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*A

Picture,

Tone

31,

Op.

2

No. MACDOWELL

is

able

which

will

is

this

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3

55, No.

**MDCXX,"Op. MACDOWELL

"Softly, with From

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55, No.

Op.

pencil

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of four

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Well-known

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twos

degenerate, and

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Op. 61,

No.

defined.

2

MACDOWELL Besides a

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Well-knowTi

To

Wild

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Piano

Solos

1

No.

Op. 51,

Rose, MACDOWELL

After the

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by

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55,

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comes

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Sea, Op.

inserted.

5

Now

four

closing

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the

To

55, No.

Sea, Op. ("Sea

1

Pieces")

MACDOWELL "Ocean,

"With this little

dignity"

manner

the

composer

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of

more

above

the

performance. had

monster!"

mighty

printed

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player

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together."

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tenor,

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measures

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B

yourself,while

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for instance,

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through

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to

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notes

7.

mainstay,

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the

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players mostly

Young

player

measure

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pedal

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sustaining

unbroken,

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flat

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9, the

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hand,

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held

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191

rich,

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give

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melodic

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to

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consecutive

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no

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pedal he

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Sea, Op. 55,

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octaves

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To

note

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nine hand the

flat.

Spinning

Song

Without

(Songs

No.

Words,

34)

MENDELSSOHN

HE

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pretty

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piano

spinning the

voice

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of

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the

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melody

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this

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herself

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"

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sixteenth-notes

in 193

measure

3

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a

Spinning Song

Mendelssohn"

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continuous.

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editions

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the

left

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measure

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four

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finger

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difficult, chiefly

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G, in 75, which

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73

becoming

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62

the

on

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in

So

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measures

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the

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to

note

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cut

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;

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instance,

Measure

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193

well

to

pencil

practice,rubato, At

behavior.

enough

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76

in

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tenuto

this fourth we

itself,must

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43.

41.

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title."

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14,

left hand

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note

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plucked

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crisply.

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Songs

Without

originally being

without

few

Song

rest

practiced

be

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chords

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fingers

83; for hardly

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92

Spinning

the

practice,

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correctly.

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at

the

(Mendelssohn Words,

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still hand,

measures

note

cleanly played.

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himself

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figure, measure

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plays

Mendelssohn well

hear

to

left hand

the

amateur

end

slow

recommend,

76.

amusing

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at

Solos

Piano

Well-known

194

the

of

Spring Song No.

Words,

Without

(Songs

30)

MENDELSSOHN The the

story that

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than

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composer

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peggio ar-

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measure

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parts:

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cantabile be

cannot

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plete com-

too

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195

Without

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melody,

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the

note

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left hand

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the

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begin,

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Well-known

196 dominant

seventh

it, and

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There be

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than

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D

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33,

of

the

first

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On

last half-beat

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executed

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the

to

a

the

the

tones

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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

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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

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the

very

those

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heard

and

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heard

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mention

to

exactly

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in

as

allowing of

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measures

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editor

the

of

precisely the

at

Nothing

chord

a

well

as

sparkle.

round

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24

not

should

part

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superfluous

the

bungled. playing

as

sounded

that

A

sharp sings

follow,

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and

hands

29.

often

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ory. mem-

27,

sound

and

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note

sharp G

at

play

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i,

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it.

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measures

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as

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safer

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and

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sharp

line should should

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ment light embellish-

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on

arate sep-

stems.

Measures over are

a

each

35,

pedal

note

enriched

36, 37

E.

on

by

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the

melody

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full chord

39, as

and 40,

harmony 41,

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accompaniment

42 to

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47,

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At

58

in

notice

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first

that

"clean"

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piece,

;

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59

inversion

throughout

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used

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on

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minor

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43

motive

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50.

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At

197

chords and

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of

tone

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pedal said

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Ed.)

Heller. "

is

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inseparably

A

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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

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help

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At

measures

boat to

3,

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will

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be

measure

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in

with

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merry

voice.

phrase half

else

or

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Italian

melodic

the

7

eighth-note,

movement

feci

join

to 5,

and

typical

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the

custom,

joyously

have

in

as

gondola

the

sunshine

one

i,

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35

induces

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feel

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and

key,

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itself

asserts

twist

and

key

under

sharp).

G

water

minor

is

like

well

black

(on

86

the

the

flags

sixths.

melody

Note

charm

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or

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on

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and

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flat)

B

present,

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Venetian

all

thumb

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in

Moszkowski's

and

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poser; com-

task

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Moszkowski

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to

For

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to

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in

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The

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pedal At

8

Moszkowski

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middle

writer

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printed

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third D

on

; at

The

melody

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in each

octave

scale

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the

scale

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of

and

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to

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on

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but

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note;

page.

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notes

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the

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61, has

to

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out

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word

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threecount

Finish

54

very

indeed,

each

to

passage,

with

warning

note.

passage

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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

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The

chord,

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of

change

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four

put

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attack

player

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pedal

53,

supertonic).

young

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ing third, includ-

the

mentioned,

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already noted; the

with

last, which you

finger

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35,

A,

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Play

third, and In

fifth

measure,

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played,

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suggest

first

at

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succeed.

the

at

would

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use

33

the

time, and

eighths

five

third

notes.

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of the

and

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is, of

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21

trill

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on

measure,

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Such

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in the

repeated,

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printed

The

threes

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199

times

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slight accent

a

of each

finger.

often

players

triplets,but

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of sixteenth-notes,

figure

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Esquisse Venetienne

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the

only last

hands.

one

chord

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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

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note

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the four

semitone

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for the

in

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At

next

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31,

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part

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neglected.

30,

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it pays,

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ascending

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note.

itself, so notes

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of

measures

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major,

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keyboard

thumb

four

measures

F

on

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stationary bass;

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measures

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position,

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We

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eight

finger, right hand,

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seventh

The

the

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28

to

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Let

minor

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note

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retain

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music.

speak;

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Measures

The

and

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The

of

chord

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supertonic,

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omit

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ened, short-

281

at

The

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finger, right hand,

third

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319

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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

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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

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and in

the

attention

the

notes note

weak

good,

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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

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clean

treatment

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and

appear, 9

use

the

thumb

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the

they

Measures

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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.

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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

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chord,

of

Further,

begins

E,

on

doing

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place

thumb

from

notes

over

"

and

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groups

fingering

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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;

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are

each

poor

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tied

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a

same

diverted 22

21,

24

the

the

as

study

to

clearly.

in

ginning be-

juocoso,

slower,

note,

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use

remember

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at

chords

four

the so

keys

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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,

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an

instinctively

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ancestors

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flowing

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of

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powdered

mind

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melody,

into

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form

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its

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flow

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and

in dance one

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minor

Schulhoff,

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classics

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G

in

symphony

proper

a

feelings

for

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mood,"

so

occasion.

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first

speak.

In

Take and

stroke, 4

the

beat,

observe rests

the

Let

emphasized. a

in

while

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phrase

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four

first the the

rests

melody,

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measures

of

beat chords staccati

each

with of

religiously. the

on

accompanying 204

last

the

firm

a

2

be

measure

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9

half

harmony

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and of

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the

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beat,

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to

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Drop

Measures

repetition, takes

of

process

the

release

to

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sounded.

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style.

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double

bars

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accompaniment

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and

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ral, B-flat, very

evenly,

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on

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measures

between

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half

last

violin let

and

repeating

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turn

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eight

if the

66

motive

beneath.

background

instead

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printed

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note

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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

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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

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cadence.

new

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on

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legato,

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first theme,

the

37

are

finger

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let

pure

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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

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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

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begins

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chord

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emphasize

205

beat,

third

the

on

13

following

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slurred.

the

it

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(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.

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two

or

a

who

fingered,

that

of

should

full

and

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part

with

Thalberg,

one

is

melody

big,

with rich

the

fleshy

keys

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been

measure

upper,

The

ease.

cantabile

though

rich

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this

golden

more

and

appreciate

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its

coda

the

wrote

you

work

the

doubt; it

be

keys

would

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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

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here

Melody

strain,

long mellifluous

one

to

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Paderewski

tofore, taking The

all

it sounds

until

hands,

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one

At the

ninth

not

The

easy.

shows

of the

is in left

strain

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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

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but

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page,

full

slide

the

At

keyboard

is necessary;

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about." at

49,

left are

forte

hand

is

nence promi-

he

you

a

your

At

tone.

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thumbs 43

companying ac-

till the

strong

two

this

new

lose

or

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us

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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

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but

first theme.

quarter,

particularly

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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,

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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

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its

begins

all

of

stately tempo

whether

must,

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It

played,

work

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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

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as

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to

came

fashionable

possible,

and

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first

sent

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to

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charming

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piano and,

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a

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soon.

7, is "imitated" dotted

note

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than

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Paderewski

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the

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the

effect

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Play

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chords

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often

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seventh, bar

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break

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note

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14

bar "with

even

then

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at

bell

players have

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in

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the

of

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The

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time. held

sinks

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end

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it should

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a

double

octaves

notes

eventually

players

melting

played

; it

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the

the

help

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the

repeated,

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of

out;

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into

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rule, young

older

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creasing in-

of

tate premedi-

wide

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key

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at

are

struck

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with

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be

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take

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eighth-notes

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finished

minor,

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on

but

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new

measure,

slight ritard

thoroughly

lower.

to

the

for

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octave

rather

away

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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

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at

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the

properly

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17;

word

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overlap,

to

the

used; for instance, 16,

slightly at 16

209

must

are

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of

i

as

say

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seem

of

The

matters.

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notes

intentions

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wait

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No.

is marked

pedal

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it

use

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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.

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page. 4,

;

2

of

ways

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melting

with

notes

making

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on

melodious dotted is

to

slow In

always

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The

best

way,

measures

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(which,

by

out

in

133

of

groups

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134

the

to

is

note.

The

take

is first

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The and

added

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with

the the

sixteenth-notes in

trouble,

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trill. did

played

;

tional addi-

two

rallentando

five, five

four,

them.

shortened or

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as

The

minuet.

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chain

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; that

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of

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;

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Fileuse, Op.

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157, No.

Fileuse, Op.

La

2

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the

5, No.

Op.

crisp, individual

a

place

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Chasse,

La

the

of

measure

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to

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close.

proper

Chasse,

La

Op. 5, No.

1

RHEINBERGER

requires

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225

Flat, Op. 44, No.

E

1

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Burlesca

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229

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Ed.)

necessity.

"

Burlesca SCARLATTI "It

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music

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ism." manner-

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clavecin

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in

Schumann, "The

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Scarlatti-Tausig" Pastorale begins

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SCARLATTI-TAUSIG

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at

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1

Op. 3, No.

Dance,

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Piano

SCHARWENKA Great

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114

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A

90,

4

No.

SCHUBERT

HE

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Piano

182

SCHUBERT This

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SCHUBERT-LISZT HE world

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