National graded course in seven grades : for the piano forte.

I LLINO I S
UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN
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OF
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URBANA-CHAMPAIGN
MUSIC
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.
Latest LEdition
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.jIllustrated
...
WM. MASON
W. S. B.
WM. LSH'ERWOOD
MATHEWYS
EMtIL LIEBLING
ARTHUR -FOOTE
GEORGE W.
CHADWVICK
ER.KROEGER
N.
.COREY
FRANCIS L. YORK
FERDINAND DUNKLEY
AYLBERT
WL O -. MT
ROSS PARSONS
UIENR'YG. HANICHETT"
JAROSLAW
DE
ZIELINSKI
TRfIOS. A'BECKET
H. C. MACDOUGAIL
The "Hatch Edition" of Standard Works and Stud
IS
TO
SUPERIOR
ANY
OTHER
LOW
EDITION
PRICED
the English
The Only Annotated Editions of These Works Published in
All numbers included in the
"Hatch Edition" have, been
carefully edited and annotated
by leading, American teachers,
including:
our corps of editors
Win. H.
S. B. Mathews,
W.
57
Kuhner. Etude School.
46
44
45
The engraving,
Diminished reproduction of cover plate
used on the
Bdition."
been advanced, but are the
same as those charged for ordinary reprints of the
included
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not
"Hatch
'works
Part
Kuhlau.
Sonatinas.
Kuhlau.
Sonatinas.
Le Couppey.
No.
77
Price
Behr Album
...-....
..
..
Elements of Piano Playing.......50
................
...
76 Bohm Abut....
28 Burgme uller. Op. 100. 25 Easy Studies for the Piano
32- Chopin Album. Thirty-two Favorite Compositions
87
Op. 30.
Biehl, A.
29 Chopin. Nocturnes........
31 Chopin. Waltzes....
....
.
30
14
60
61
62
63
59
Clementi.
58
70
75
'24.
Op. 299.
Op.299.
Czerny.
Op. 269.
Op. 299.
Czerny.
64 Czerny.
66
Op.
Czerny.
Czerny.
...
Op.269.-
.
.
.
Twenty-five Etudes
Melodique
Book
School of Velocity.
School
School
School
School
.
.
1 00
1 00
of Velocity.
of Veloctty.
of Velocity.
of Velocity.
50
"
40
I....25
Book 2
25
.
Book 3 .
.
25
.
Book 4.......25
Complete
....
40 Gurlitt., Op. toi. Album Leaves for the Young. .. ....
27 Gurlitt. Op. 11r7. The First Lessons............5
73 Hasse./ Op.,. 52. Children's Corner. Ten Easy Pieces,
"
74- Hemns Albu
...........
o.........
72 Heller (M._P.) Op t®. 18 'Melodious Studies in Easy Style.21 Heller. Op. 45.........
.......
. .
. . 1
22 Heller. Op. 46....................1
23- Heller
,.
.=. .
..
1
88 Heller. 50 Selected Studies, (Revisecd and annotated by W.
Op. 47
71
33
34
3F
1
2
3
52
53
.
Bons.'-
Kohler. 'Op. 151
Kohler.
Kohler.
.. ...
Op.:: 57.....
Op.
.........-.
.....
Loschhorn.
39
4
Le Couppey.
26.
..-.
..
....
......
..
......
x
.
...
Vol. I
.
.
65.
.
.....
Op.
Book ....
. a,.,
Loschhorn. Op. 65. Book 2...................
.
......
Loschhorn. Op. 65. Book 3 ...
Low.. Teacher and Pupil. Pract. Four Hand Piano Method.
.
...
Sartorio.
Op,."149 Practical Method. Vol.
..
,
,..
Op.' 24-g:"_ Practical Method..
2....
..
...
Kohler Op 249 Practical Method. Vol. 3....
...
Kuhner. Etude School. Vol.
Lower Element, Grade
Kuhner.,-Etude School.. Vol. 2. Higher Element. Grade.
I.
68
65
49
15
85
12
13
6
7
Low Teacher and Pupil.
Little Pieces.................
Twelve Melodious and Instructive Studies for the
...
.
75
7575
75
75
"
.
.
.75
.
-
..
".......
Saunders. Fingering.........
Schmidt. Op. 16.- Preparatory Five-Finger Exercises
.
Schumann. Album for the Pianoforte......
Sonatina Album for the Pianoforte ....
Schumann.
Streabbog.
Op. 68. Album for the Young. .........
Op. 63. Twelve Etudes Melodiques.
Strea.bbog,
Op. 64.
Wagner.
Wagner.
Twelve Etudes
....
.....
....
Melodiques.
603 5-
7575
..
.
4
.
.
.
.
.
. .
75
x 75
T75
First Piano Instructor, Eng. and Ger Text. Vol.
First Piano Instructor, Eng. and Ger. Text. Vol. 275
VIOLIN
24
25
26
Thirty-six Elementary and Progressive
Kayser. Op. 20.
Studies for the Violin. Vol. i..............
Kayser. Op. 20. Thirty-six Elementary and Progressive
. ....
Studies for the Violin. Vol. 2........
Kayser. Op. 20. Thirty-six Elementary. and Progressive
.. .. .. ..
Studies for the Violin.' Vol. 3.....
)TP50
50
50
VOICE
Practical Singing Tutor. For Soprano or
I 50
...
.....
Tenor. Complete. ......
Bonoldi. Complete and, Progressive Vocal Exercises. New
Edition, with Exhaustive Introduction by Frederic W.
60
... . . .
Root, Soprano..
Bonoldi. Complete and Progressive Vocal Exercises. New
Edition, with Exhaustive Introduction by Frederic W.
60
Root. Contralto ...................
75
Panofka. Twenty-four Progressive Vocalizes. Vol 1 . e
75
Panofka. Twenty-four Progressive Vocalizes. Vol 2 . .
Sieber. Op. 92.- Thirty-six Elementary Vocalises. With
Introductory Notes by Frederic W. Root. Soprano. .
48 Abt. Op. 474.
9
51.
78
79
Sieber.
Thirty-six Elementary, Vocalises.
Op. 93.
Notes by
Introductory
50
50
50
50
67
50
50,
50
50
11
69
00
00
.
,
.......
Pract. Four Hand Piano Method.
.75
. .....
.........
Vol. 2. ...
1 00
. ..
Mendelssohn. Songs Without Words . . . . . ,.
Reinhold. Op. 39. Miniature Pictures. Twenty-four Easy
50
d"905
Kohier.
Kohler.
Fifteen Studies in
Vol.I.................................75
5
10
00
50
.
Very
37
*38
50
50
1 00
Album of Very Easy Pieces
....
50
60
.
Twenty-five
50
0
.
75
.
Easy Studies Without Octaves.........
Progressive
Le Couppey. Op. 20. Agility._
1 00
Studies in Mechanism and Lightness... ........
Le Couppey. Op. 25. Difficulty. Fifteen Studies in Loosen.
1 00
.
.
.
ing the Fingers.
30
50
Duvernoy.
.
Twenty-five
47
8
60
Op. 553. Six Octavo Studies for the Pianoforte.
Czerny.- One Hundred Recitations for the Pianoforte
. .
Op. 120.; School of echanism...
Melodious
Fink. Op. 95. Rural-Pictures. Twelve Easy,
and Instructive Pieces............
..
a
Ganschals Album ..............
.....
S. B. l~ath-ws).......
Hovarth. Op. 20.
Baol
Kohler. Op. 5to...........
..
.
. . ..
The Alphabet.
50
....
"
Vol. 2
17.
75
............
Sonatinas
Concone.
Czerny.
50
..
50
Vol. I .......................
Op.
75
75
2...................................................
Piano.
PIANO
Vol. 6
Lower Med. Grade, Part I
Lower.Med. Grade, Fart 2
Higher Element. Grade,
.75
Higher Element. Grade
Mechanism-PreOp.
00
face
to Czerny's Studies in Velocity............1
7560
Le Couppey Virtuosity. Fifty Difficnlt Exercises,.
Lemoine. Op. 37. Etudes Enfantines
never been attempted by any
paper, printing and binding are
superior in every respect-each
the best of its class. Regardless
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Etude School.
Etude School.
Etude School.
Part...............................
etc.
other publisher.
Vol. 3
Vol. 4
Vol. 5
Kuhner.
Kuhner.
Kuhner.
41
42
43
has
Price
No.
54
5
56
Sherwood, Frank H. Tubbs,
Frederic W. Root, R. S.- Goldbeck,- Jaroslaw de Zielinski, J.
S. Van Cleve, TIhomas a'Becket,
Wilson G. Smith, H. C. Macdougall, Bernhard Listemaun,
This important work
"Language
Soprano
80
81
82
83
o
Sieber. Op. 94.
Introductory
Sieber. Op. 95.
Introductory
Sieber. Op.
96.
Introductory
...............
Frederic W.
Root.
'With
Mezzo
50
e
Thirty-six Elementary Vocalises. With
. .
Notes _by Frederic W. Root. Alto.
Thirty-six Elemen tary, Vocalises. With
.50
Notes by Frederic W. Root. Tenor.
Thirty-six Elementary Vocalises. With
Notes
by, Root.
50
Baritone...........50
Sieber. Op. 97. Thirty-six Elementary Vocalises.
Introductory Note by' Frederic W., Root. Bass
With
...
50
5
I
I
=
I
Illustrtdb
WM. MASON
W. S. B. MATHEWS
WM. H. SHERWOOD
EMIL LIEBLING
ARTHUR FOOTE
GEORGE W. CHADWICK
C. R. KROEGER
N. J. COREY
FRANCIS L. YORK
FERDINAND
ALBERT
ROSS
DUNKLEY
PARSONS
WILSON G. SMITH
HENRY G. HANCHETT
JAROSLAW DE ZIELINSKI
THOS. A'BECKET
H.
C.
MACDOUGALVL
3.6 B. LANG
WALTER SPRY and others
COPYRIGHT MCMVI, BY HATCH MUSIC COMPANY.
IIIA
TO TEACHER AND PUPIL.
If Grade I has been studied earnestly and the various steps taken with careful attention,
the present grade will follow along naturally anm easily. All through the work the teacher
will see that the pupil is encouraged to keep up the exercises for wrist freedom. Everything
depends on this, and most of the evils in bad playing are referable to this source.
We begin now to work on the scales and much has to be done in the way of training the
thumb to go under the hand in preparation for its next note. There are different ways of doing
this, but some one way ought to be selected and the student thoroughly drilled in it until the
thumb behaves properly. There are etudes in the grade giving the needful practice, but it is not
sufficient to tell the pupil to go through them; the teacher should practice with the student until
smoothness has been obtained. The prompt going-under of the thumb is not a matter to be
secured once for all; on the contrary, eternal vigilance is the price of scale liberty.
As to the actual practice of the scales teachers differ; it would be unwise, however, not to
devote a good deal of attention to the study of the different forms of major and minor scales.
An easy way of impressing the notes of the scales on the memory is to write them over and
over again; any music dealer can furnish "Manchester's Music Tablet," which is especially
planned for this purpose.
Another important point is to see that the staccato and legato are understood, both theoretically and practically. If the player cannot command these two colors his performance will be
dull; these touches will have been well started in Grade I, but as time goes on the distinctions
between them will grow clearer and the playing brighter. The phrasing must grow sharper as
the pupil gets into the grade, and the teacher must watch the ends of the slurs carefully. The
"National Graded Course" is so carefully phrased that the slurs, dots, staccato marks, etc., may
be relied upon as correct.
The important question of velocity should not be brought forward too early. What little
velocity is gained should be acquired through scale practice; this does not mean that the teacher
should not encourage the pupil to get etudes up to time-not at all! But this is not the grade to
urge him forward unduly; rather, let the fundamentals of a sound execution, the correct notes,
good rhythm, accurate phrasing and the observance of the marks of expression be insisted
on. Velocity is not to be feverishly striven for to the detriment of these good qualities.
Later on in the grades, however, it becomes very important to develop the pupil's powers to
the utmost, and if the foundations laid in Grades I and II are sound, progress in the later
grades will be very rapid.
No teacher needs to be told how
In Grade II we find a free use of the damper pedal.
much artistic piano playing depends on the use of the pedals. The first one to be used is, naturally, the damper pedal, sometimes misleadingly called the "loud" pedal. The most valuable
If
of the studies in Grade II, for this purpose, is the one entitled "Choral-a pedal study."
practiced according to directions it cannot fail to give the pupil a grounding in the fundamental
technique of the pedal. There must not be the slightest blurring of the chords, and not the
slightest gap or rest between them. It will, at first, be tiresome work for both teacher and
student, but the results will repay all the work and trouble.
And, here, we must give the teacher a friendly word of caution, namely: do not leave students to their own devices. Go over the advance work with them before completing the lesson,
and see that it is thoroughly understood. If you actually see pupils work through a new etude or
piece you are sure that they appreciate the points you wish to make in the execution of the music.
If, on the other hand, pupils are left to struggle unaided through the first practice of new work, they
will, very likely, make many errors and become discouraged, and possibly neglect it altogether.
It is not a pleasant task, this going over new work with young pupils, hearing all their numerous errors, and bearing patiently with their discords, but it is work that ought to be done, and
it pays in the end.
Grade II is really a most important link in the chain of progress, and on its successful
forging depends the strength of the chain as a whole; hardly less important is this grade than
Grade I. If the pupils become tired, so that they can hardly be persuaded to go on, give them
some of the interesting pieces advertised on page 44. It is not lost time that transforms an
uninterested pupil into a happy one.
After one or two pieces are learned a return to the melodious etudes of the grade, with its
unique combination of work and play, will be very pleasant.
THE EDITORS.
(2)
r3
TO GRADE II.
INTRODUCTION
Fob
MUSIC
A correct and ready knowledge of the scales is
absolutely necessary. In pursuance of the plan outlined in GRADE I, in reference to the scales, viz.: to
take up the difficulties of scale playing one by one, it
is recommended that the pupil, having learned the
putting-under of the thumb, be now taught the notes
of the scales. This is best done through writing. The
following dialogue explains the process of forming a
scale. While some pupils may find it wearisomely
explicit, others will be glad of the close reasoning
employed.
Q.
A.
Q.
How far is C above B ?
A semi-tone.
How far should the third note be above the
second ?
A.
Q.
A.
A.
Q.
A whole tone.
Is C right then for third tone?
No.
What is the matter with it?
It is a semi-tone too low.
How can we raise it ?
By putting a sharp before it, thus:
Writing the Major Scale.
In writing the major scales, the scale of C major
is taken as the model.
The numbers refer to the position of the sounds in
the scale; thus '" G" is the fifth sound (or note, or
tone) in the scale of C major. Often we use the word
" degree," as "G" is the fifth degree in the scale of C
major.
D
We notice, first, that the notes ascend on the staff
without skipping a line or space. The notes below are
not the scale of C.
,
V U
[I
Q.
What is the fourth note as we have it?
A.
A semi-tone.
Q. How far above three should four be ?
A.
A semi-tone.
Q. Then is D right for the fourth note?
A. Yes.
The same reasoning may be employed to the end
of the scale. Let us now take another scale, say A fiat.
Q. What is the first step?
A. To write out the notes in order on the staff
without skipping lines
notes.
U
Second, we notice a semi-tone between 3 and 4, 7
and 8, of the scale; and whole tones between i and 2,
and 3, 4 and 5, 5 and 6, 6 and 7. These two things
are true of all major scales. We will now write a
scale, say A major.
Question. What is the first step?
Answer. To write the notes in order on the staff
without skipping lines or spaces, and to number the
notes.
and spaces, and to number thet.
2
A.
A.
A.
A.
A wholetone.
asemi-tone
a half.
too high.d
A toneis
?
we have it
theforsecondasnote
is then,
Is B right,
A.
NoB.
the with
Q. How faris Bmatter
'd't
WIL~VMl~r ~iSRlrEll~fj~CI,
'49
A.
Q.
What is the first note in the scale of A ?
A.
What is the second note, as we have it ?
A.
B.
Q.
Q. How far is B above A ?
A. A whole tone.
&rst?Q. How far should the second note be above the
A.
c7
Q.
A.
Q.
A whole tone.
Then is B right for the second tone ?
Yes.
What is the third note, as we have it?
it?
Q. What is the second note as we have
A. B.
A flat ?e
in the scale of
note
Whowfar should the second
Q.
Q.
-i
A
A tone
flat. and a half.
it?
Q.
How far should the second note be above the
A.
By placing a flat before it, thus:
The same process of reasoning may be employed
to the end of the scale. After the scales can be written
without hesitation, the fingering may be taught.
C.
(3)
t
4
Hunting Song.
The chief characteristic of this jolly hunting song is its springing rhythm; let this be clearly marked, takigpn
to sof ten the unaccented tones.
Con moto
.:
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C. GURLITT
S
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4
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Somewhat dower- cantabile
Fos
Tempo
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1
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III
1
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I
do A
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%
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(a)
&
The accompaniment now becomes piano; let the melody stand out clearly.
1 ! 42
I
_
ft
E
primo
5
Serenade.
PIETRO LANCIANI.
This is a melody study for the left hand. Play it with much grace.
Andantino mosso.
(.L~96)
2.
con espressione.
di
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Tl-o
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4
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(a) The chords in the right hand should be piano and somewhat staccato.
124-42
_
1
_
_
_
I
KJn
6
The first note in the two-note phrase should be played with a portamnto or non legato touch
bined wrist and arm, but with very slight arm motion, the rebound of he finger from the second not
sunfficient to give the arm its proper elevation. To this end the wrist must be perfectly loose. Do
oa
cent the first note especially, thereby covering the effect of the repeated note and spoiling the cniut
and legato effect of the phrases.
PHRASING. ]ETUDE.
Edited and fingered by
SUMNER SALTER.
H WOHLFAHRT.
Tempo di Vabse.
=
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Very sustained and organ-like.
CHORAL
d--44
3
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4
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2
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A
'1
5
I1
5
A PEDAL STUDY.
4
41
11
-
1
4
w
v
5
4
C. GURLITT,
b
(a)
101.
Op.
a
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4
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43
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45
(a) Sustain the long notes. With the exception of the places marked (a) which are done with the fingers,
edn hetmomybeicesdgrdal
ih
ped
r
ouhi
the casustaining
effects are gained by the pedal. At oth
first count
six veryh slowly
(no faster sd
than M .4.
The pedal will
et goet down
mp on the even counts
a e g (2.
a uly
4. 6.)totand
e rgcome
t pup e on.Th the odd
r counts
o ch i(1. 3.s 5.)
d Whenedo
thisnr
124 -42
This and the following studies are for practice in crossings. Follow the finger marks exactly. those
above the notes are more difficult than those below. In making the crossings do not allow the slightest
change of direction of the hand at the wrist joint, but compel the thumb to do all of the work by its root
joint. The position of the hand should be so turned with reference to the key-board that the fingers ofthe
two hands are nearer together than are the wrists. If both hands be laid upon a table, fingers extended and
touching, and the palms pressed flat upon the table, and if then the hands be brought together so that the
tips of the two thumbs and also of the two index fingers just touch, the hands will then be turned about
as they should be for making crossings. Be sure that the thumb when under the hand strikes as independ
ently as when in its usual position
no striking by the aid of any hand motion.
ETUDE FOR PUTTING UNDER THE THUMB.
Edited and fingered by
Dr. HENRY G. HANCHETT.
C. H. DORING,
Moderato.
n
f 12
- 132
8
2
3
4
3
22
_
3
•,--
V
124-
42
1
4
Op. 45,
N9 1.
8
In this etude the more difficult fingering is placed below the notes.
tion with the first etude apply also to this one.
The remarks made in
ETUDE FOR PUJTTINGT UNDER THE THUMB.
Edited and fingered by
Dr. HENRY G. HANCHETT.
C. H. DORING,
Op.45N92
132
Moderato.
6.
~CC
I
dim.
9)
2
-
3
11
5
2
Ic
1
I
1
Ja1il.
2I,1
-1e-
2_d
2
3
124
42
4
5
1
1
9
Kind ermars oh.
A Study in Staccato.
Edited and fingered by
H. C.MACDOUGALL.
G.MERKEL, Op.31, N91.
Gustav Merkel was horn in 1827 in Saxony and at one time in his life was a pupil of Schumann.
few years ago. His compositions for the piano are mostly salon music; on the other hand his organ sontafn
tasies, preludes etc., are very solid and dignified.
Lively and with energy.
(
-
so)
7.
5
3
2
1
4
q
p
1
4
Aid
p
f
Y74
1
yfs
AIF
*
124-42
.1
4
-
10
This etude is designed chiefly to give practice in hand contractions. The effort should be to m
finger that is to strike fall always in a vertical line- do not allow it to begin its descent until
rectlv over the key to be c'ruck. The finger that is holding a key down may bend to any extent
leave the key in any direction, hut keys should be struck only from directly above., straight downune
all circumstances. Even when there are skips as from the 4th to the 5th measure in r. h. the fingewhc
is to strike (thumb in this case) should be carried high till it is over its key. Connect the notesoftern
ning passages closely and smoothly and make the least possible break when the same note is repeated( sfo
1st to 2nd measure, r. h. Practice at first much slower than the metronome mark.
Edited and fingered by
Dr. HENRY G. HANCHETT.
LEGATO
Allegro commodo.
legato.
1
J
ETUDE.
CONRAD
KUHNER.
-120
1
2
S.
3
Aeia
5 4
43
4
*2
--
9)T
()
(U1)
2
1
r
(
411p.
0
76
,
diinin.
.x
Ii
(C) 5
4
AM&
cr~esc.
t
5
5
5
A
__________
r,
_r"1
12
3
-
i
sempre legato.4
4
4
semapre Ugato.4
A
4k)
4
4L
4J-mo
2
1
21__3_d_
1
1
3
2
~4
2
21_
4
_
I
T
cres.-
p
(a)-
ff
1
(a)R The I. h.
4__
13
exactly between
the
2
11d
&
-
3rd notes of the triplet. The rhythm
A
may be
clearer if
expressed
thus
S(b) The lowest fingering should be used if possible. Let the finger cling to the upper d a
in
as possible sliding off the end of the key, while the thumb and inner side of the hand arerie
and kept high till over the lower d, so that the blow may be delivered straight down.
(c) The ix semi- staccato notes notes may be playedA by a hand stroke. a slight hinge-like motion from tewit
124
-42
11
3
4
a .1m
5 4
4 3
3
p- a
(1)
2
1
(1)
2
2
(1)
2
w-
(b)
4
3
I1i
6m"
_______________________I
5
4-
3 2
2
3
1
(a)
Edited and fingered by
SCALE PAS SAGES.
H. C. MACDOUGALL.
MEYER.
Moderato.
5
2
~4
.1
1
9.
[73______________
(a)
(a)
5I
I
Chords with hand touch .
In this and similar places between measures do not miss the legato; between measures 10 and 11,14ad5
the legato will be found dcjficult for small hands.
(b)
124
-42
jOF
ILLB
12
SCALE PASSAGES.
(See directions to preceding study.)
Edited and fingered by
C. MACDOUGALL.
If.
Moderato.
10.
For the sake of equality and distinctness it is recommended that each group he played with a slight crecno
Play also with two groups in one phrase and a similar crescendo through the measure.
D U L
Edited and fingered by
D
SUMNER SALTER.
Allegretto. 4
tj~~~~
124- 42
3_
U
L
HR S
HR
S
A
-592
_
_
_---.
RUE
ETUDE FOR PIRASING.
The semi-staccato note at the beginning of each measure should be struck lightly, at the sam
firmly;
and relinquished,
by drawing the finger towards the centre of the hand.
Edited and fingered by
HOMER N. I3ARTLETT.
H. LEMIE
Allegretto.
__
5
124r-42
\
_V___
D). C. sin' aI
FINE.
14
SCALE PASSAGIES.
Edited and fingered by
ll.C. MACDOUGALL.
L. KOHLER,
This etude may be reviewed in a few week-,
Moderato- Allegro.
(
-
when a faster tempo wili be necessary.
60 -80)
13.
.5
2
13
3-
w
1.
2>
1
5
3
3
3
5
4
1
4
1
.w p
oresa.
12
. 3
AM3ftb
Ma-41-
-mw
f
3
VI-
(a) Each group of four sixteenth notes may with advantage be practiced thus:
alsoalsoetc.
(b) Chords with hand touch.
124-42
bar 3
13e
Is
Free Fancies
Edited and fingered by
W. S.B. MATHEWS.
CORNELIUS GURLITT, Op.
MELODY ETUDE WITH LEFT HAND WORK.
A pieasing melody study in which a full round tone is of the firstimportance. At (a) give the lo
the melody has long tones, as at (a) the left hand c
force enough to make it fill its time.
ulate expression by making a little crescendo upon its own account, as indicated at (b). The
point is to do this just enough to keep up thne interest without diverting attention from the sopran
which of course is the main thing. The ossia in measure five may be useful practice for older
It may be easily accomplished by first learning to pluhv triplets and then four tones to a bea,
ing two in a measure until the different rate is perfectly well understood. Then leaving the left
take care of itself, give the attention to the right hand. As the left hand has been playing a unifo
While
mathematicallyagis
tion of triplets it will easily enough keep on. It is not possihle to place the foutr
the thre'e by computing the exact point where each part comes in. The syncopated tones at
pate the accent of the tied tone.
Con moto.
1.
1-
4
Pesp/es
-
98
ii'(a
2Copyright
MDCCCXCVII
by Hatch
Music Co.
(d)
atc
16
SCALE ETUDE
FOR LEFT HAND.
oth
I3
this and the following etude begin to look towards velocity. Practiced at first at a ver slowed
(- 60) and with great precision, increasing steadily until the proper temipo is reached. they can ntfi
of great usefulness.
Moderato.
5
1
1'
.-
96
___
4
~
1
_I~
-
42
-I~~~I_
.
41
14
-
4
4
(a) This lower fingering, strictly in accordance with the suggestions of the author, will be
practice. The other fingering will, of course, be the one chosen for velocity.
'.1
-
altale
i
17
SCALE ETUDE FOR RIGiHT HAND.
fee notes to preceding etude.
O.H. DORING.
Moderato.
-
104
16.
)
J
9)ii
1I
I
13
g
--
1
mr4v
(a) See note (a) in preceding etude
124
42
j
1
e
1
I
1
1
1
I
--
5
5
.1
13
18
The Little Wanderer.
Edited and fingered by
W. S. B. MATHEWS.
CORNELIUS GURLITT.
MELODY NND PHIRASING.
Op.
101, N9 12.
A pleasing little thematic piece composed upon a very small number of leading motives treate
harmonies. At (a) give the last tone of the melodic phrase its proper accent. At (b) be sure that
tion is one of eighth notes, and not as if the soprano sang a melody composed of A. B flat, C,an D
leaving the two F's as if belonging to the accompaniment. Give the F the same force. At (c) mk h
tone strong, as also at the (d), iisoluto. At (e) a hand motion, and at (f) accent the bass. Theylsn
phrase, being practically a sequence of a motive which has been many times used before, must blae
a little more emphatically, a little itardando towards the end, and at the same
with more foreTi
is indicated by
time
allaigando,
broadening out_
Allegretto.
.
-
i. e. with more force and more time.
88
17.
4
5
4 3
-
'3
w -1 3
W~
2
fw
--
p
_--0
A
0
ow
*A
/
'\
A
-/
_I_
(d) risoluto.
Y0)
\
f
dim.
A
L--
Ar
)
a
2
5
4It
7752.
rT
2
f0)
124
Illr
_
W '
c
2
4
f
"
1
Copyright MDCCCXCV1I by Hatch Music Co.
19
3
4
2
1
5
3
3
1
I
lI
5
.33
'4
2
3
a
l
l
s
(e) scheizando.
.
fr'
I
I
I
fr'
W'
r'
(I
IW
'
3
1
4.-
2
2
p
N
lkil
l
mf
('leS C.
I
~k2
.
i-
-{
4 4
5
LiIIII
2.
f
c1esc.
fI
I
2
2
1
(b)
(d)
A
I
r
1
3
'r4
f
s
p
A-0-~i
-"
risoluto.
f
dim.
-
JL
3
3
--...
III
"I
0)
mf
-AIL
- a
f.'
circ
-1
- .O
alargrndo.
r"
i
2
12 4-
42
5
4
2
-"
ETUDE IN BROKEN CHORDS FOR RIGHT AND LEFT HANDS.
The eighth note passages separately at first. (
Vivace.
---
b
- 60)
E. BIEHL, Op.
. -54
7
The chords to be played with the hand touch; the eighth note passages with the finger touch.
124-
42
21
SUMNER SALTER.
.2
,
DORING
BROKEN CHORDS FOR LEFT HAND.
Edited and fingered by
SUAlNER SALTER.o
moderato.
104 -
H.-
132
1. Small hands and those lacking in flexibility will find the following stretching exercise be
Exercise:With successive pairs of alternate fingers, e.g. 1-3, 2-4, 3-5, play broken fifths thi
octaves, holding two notes down consecutively, releasing the first note when the third note is str
keeping the hand loose on the wrist and turning the hand in a rotary motion in the drection of the strik
ing finger as may be necessary to avoid stiffness and cramped position:.
-,"-'
A4-
2
.e
.
.. .W
34
0)o
1
I
42
____~-
..Ogg
_
124-
.
4]
n
_.
__
i_
Tj
1
7
I
u
42
5
-
_
55
5
5
___________________d41
'K0
0)
p
lm0l
3
1
'
5
g~..-------
~
5
Edited and fingered by
SUMNER SALTER.
See
notes
BROKEN CHORDS FOR RIGHT HAND.
to. preceding
etude.
Allegro molto.
A
_bil
C. H. DORING.
.I -120
_160
T
fI
20.
I
L-
.
124
N
42
.
w
2
8
I
"
A
/45
I
1
Of -I Im
1
2
A
2
1
"
Ida
;ro
1
4-1
124-4'2
2
W
24
THE BEGINNING~
Practice forte at first,
at last
...
.
afterwards
OF VELOCITY.
observe the marks of expression.
C. KUMMER.
At first no faster than
Pr~cict
orteat
frst;af3
4
_
V)
21.j
p_
ri
14
The
advantages
of transposition
have been pointed out by Von Blow
in
his edition of Cramer
also the' arrangement frlf
F.
1
InmA.
I__3
i
I
At4
124--42
3
4
3
"rt-
f
The following transpositions of the above etude will be found very useful;
hand.
In
0
60.
*.*
L3*4
K
'5
(a)
The last six notes may be fingered
1. 3. 4. 2. 1. 5.
FOR LEFT HAND.
.= A--
AM
'-
5--_
124-
42
b
I
i
Edited and fingered by
E. R. KROEGER.
PHRASING AND MELODY.
THEODOR
Allegretto. .A - 88
Al1
5
3
5
Pon
0)
KIRCHNER.
w
w8~3
l
1.
I
23j
-
f
y
r^-1
4
s5
5
22
2
NOTE: Strict attention should be paid to the accurate alternation of the two hands. Notes on tl
staff to be played with the left hand and those on the upper staff to be played with the right hand.
124-
42
27
ETUDE ARRANGTED FOR LEFT HAND.
Allegro.
-
C. OZERNY.
80 to 160.
24.
8--
.
-
p
.7
I'
33
38
ww#:
_
i
124
-42
*.I
_
28
8-
V
- -----------
_
3I
3
L
STACCATO ETUDE.
Edited and fingered by
H. C. MACDOUGALL.
OSCAR WERMANN.
It will be found advantageous
fixed.
Very lively.
~
a1
. -
to first practice this etude
84 to 100.
(a)
3
4 1
2
3
34
3
legato,
in order that the fingering maybe
4
,
,
4
..
P
PP
J
eaII7
_l
5
(a)
124-
2
1
The upper fingering is recommended
42
5
_
2
29
4
2
4
i12
I)
Pftpmm4-
a_
4
"I"
mf
A.0
T4
A
A.
i
3
5
'
0._ *
I
3
4
2
5
4
2
1'12
5
1
3
(b) It might be well at this point to call the attention of the pupil to two simple rules which will ordinrlb
sufficient to distinguish a piece in the major key from one in the minor. First, bearing in mind tht1
h
last bass note in a piece is the key note__ if the last bass note corresponds with the key-note as i/a
e'd by Ihe signature, the piece is major; if not, it is minor. Second. the last chord must have a
mao
third to
124
-
42
be
major.
3 0)
The Lark's Song.
P. TSCHAIKOSY
This little piece is just as characteristic of the great master who wrote it as any of his larger and grand
Its keynotes are refinement of touch, delicacy of phrasing and the utmost nicety of shading.
Peter lltitsch Tschaikowsky, the greatest Russian composer, was born Apr. 25. 1840 and died Nov. 6
Moderato. (. - 68)
33
4
3
2mAmA
1-14
-42
Copyright MDCCCXCIX by Hatch Music Co.
31
_
,
T"h"--
(a)
(a)
(a)
Struck simultaneously.
124-42
(a)3
(a)
32
First Prelude
Edited and fingered by
from the Well Tempered ClJ
THOS. a BECKET.
All the fingerings written above the notes even if written on the lower staff
right hand, and those below the notes are to be taken by the left hand.
Allegro.
(a)
271
P
are to be taken
~-112
rao
j
3
1
(a) The effect intended is as if written
with the 1st and 2nd notes sustained truL
out the figure.. Care must be taken that the first note for the right hand is not too strong, thereb
ducing an accent: it really is the third note of the group.
124
-
42
t
r
33
3
142r
124 -2
2
3
15
3i7
Klavierstiick.
Edited and fingered by
THOS. a BECKET.
Allegro
F. MENDELSSOHN,
non troppo.
Op. 72, NQ 1.
K- 12 6 .
28.
I
3
2a
5
3
* W
...
"
(a) Observe the strong accent on the 3rd beat; in the first three measures let it be very marked;
5th, 6th and 7th measures not so pronounced.
(b) The phrasing needs careful attention; the first three notes (treble) legato, followed by light,
staccato notes. The bass in similar style.
The foregoing subjects (a) and (b) are the foundation themes of the composition.
(c)
A light wrist touch from here to the end, gradually diminishing in power.
124 -
42
Copyright
MDCCCXCVII
by Hatch Music Co
in the
crisp
SINGING TOUCH.
Edited and fingered by
W. S. B. MATTHEWS
THEODOR KIRCHNER.
This pleasant little study is calculated to promote lightness of the second and third fingers
hand, along with a' singing pressure upon the fifth finger in the melody. As such it tends towarsago
cantabile. At (a) hold the quarter its full value; (b) accent the melody tone strongly in ordert
mk
it hold out its full value; (c)
look out that the little melodic fragment contains exactly two toni ado
more by falsely' accenting upon the third beat; finally, obtain an easier flow by counting four,ontoec
measure, taking the first measure as gone". This will give the larger rhythm.
Allegretto.
2 1
third
firsl
the
p
29.)''
th
~--- - -'~~~~
b
3
-
-
________________________________
I ______
(a)
_
~
11
9)_
J->JN
k
_
r~
y
q
I
~
""womb"
(b)
'
3
r
s
(c)
2
~
5I
3!
N1
p
MEMO
b
n1
)
1
"
,w
5 Nj.,
A
I
-"
_i:7: 7m
4
i
----------------'
_
_
_
0)
v
t
-
'
36
ETUDE FOR THE LEFT HAND.
Edited and fingered by
WILSON G. SMITH.
Theodor Kirchner, born in Saxony on Dec. 10th, 1824_
are p sealw
ayssstherasm
characteristic
nd
xpo
e
ent
fand
still living-
THEODOR KI
is one of the most poetic of modernGra
soriginal.ch
mal
aller
SchHennwhashewrittena
em
forms,. bsutrthasoncreated anyms
anlikes
d gem
honlyareinwa
s;scrand,
Heller, occupies a unique position in musical literature.
30.
5
2
S4
1~-11
(b)
2
staccato.
-
5
3
4
23
2
2
4I
I11-
I
J. .
iI"
2
51
2
83
U,
-TI
T'~
t15
5
5*
Practice sections a, b, c & d separately, until all are learned; then play the study through without break. Pa h
chords in the right hand with a distinct staccato touch. All the eighth note passages in both hands are stacao r
jess lre
124 -42
Edited and fingered
E. R. KROEGER.
ARPE GGIO ETUDE.
by
L. STREABBOG,
Op.1
The following rule for the use of the third and fourth finger in arpeggi of common chords will
erally found to be applicable: when the distance iion the key struck by the little finger to the follow
(or ice versa) embraces one white key not employed,- the fourth finger should be used; when it
two white keys, the third finger should be used. This rule applies to either hand. There are excei
the rule generally holds good. Students should make a point of raising the hands from the keys at th
a slur. by means of an elastic movement of the wrist. Indeed, a good
is for the student to cut
of the last note of a phrase in half, a rest occupying the remaining half.
rule
Moderato.
311
Where the sign
(a)
next
.
124-
42
55
*-116
5
4
422
6
6
for taking up the pedal (*)
does not occur,
2
34
-*
hold the pedal
6
down
as
..
far
~
a
h
38
"3
Chanson
Editedand
fingered by
B. L. WHELPLEY.
2
mo5
d' enfant.
x0
*4
E.UI''
ALEX.GUILMAT
Felix Alexander Guilmant was born at Boulogne, March 12th 1837. He is organist at La Trinit6 Church, Paris, and is
a composer and performer of great ability. His first public appearance in America was at the Worlds Fair, Chicago, on
August 31s t , 1893.
Andante. ~- 66
2
8
(
32.
124-42
-
-i
P avec simplicit.
0
-
lw
"
8
2
524"
39
13
3
1
,-_
_
Now
0)
__
_
2"13
__
1
'5
"_
f7
I
f#
44
3 2 3
5
*
I'
2
11
4
23
-, poCO 1't.
2
q
pp
g14L
5
1
.r
H. LEM OINE .
2N~
..
1
2
;
moll
JF
$8
4
a
8~
Accentuate the melody thus:
and observe the gradations of tone marked
much importance was attached to this in the days of Lemoine, Herz, Czerny and also Chopin.
-42
4
_
SEPARATION OF FINGERS
Equality and Velocity.
Edited and fingered by
RICHARD HOFFMAN.
124
'
LII
dim.
5
21mo
V
It
(1
3 47
4p2-
3'10
- &
Am
I
5
5423
3
-***
b9)
P
p.
.
A~
4t
c'esc.
5
Edited and fingered by
RICHARD HOFFMAN.
PHRASING AND RHYTHM.
Practice with the left hand alone, is very important in this study; and note that
come- at the first beat and in the left at the second beat of the bar.
124-
42
am
2
4
H. LEMOINE.
5^
4
.
0
Ida
,
r
Alk
'N
Adak.
AIM
,
"
-
Ad
m1h
"
Of
"
r
ma
133
m
"
$
5
*Wf
5
S
5
5
'
5
5
4
5
--
K_
_L
in,
L
2
.
-
"
"
,
47-=
,
"
2
5
'
5
5
3
1
3
2
.
/
0
AM-
.1
T1 I
I
dimin.
"
/0000
'WIN
In
ft
N
Z$Z-
4w
Am
lk
imil
-44
'm
Add
5
3
.
3
9.
1.
4
41
cresc.
0
,I
1! li
/00
'
21
"got
W,
- A *to
t l
Ida
e
low
2
"
AM
AAk
7
7-
a
>
1
"
1/1 161
o4 I z
124-
42
.11
I
THE HARMONIC AND MELODIC MINOR SCALES.
The minor scales prove a stumbling block to most
pupils; for this reason the subject should be made
thoroughly plain. There are two views of the minor
scale, one view regarding it as a modification or inflection of the major scale, the other regarding it as an
independent scale. As a matter of practical teaching it
is easier to teach the pupil to look at the minor scale as
a major scale changed, than to learn the minor from
the start as an independent form.
The major scales should be learned very thoroughly
in the manner recommended on page 3 of this grade.
The Harmonic Minor Scale.
The harmonic minor scale, while not so pleasant
to the ear as the melodic minor, is the more important
The Melodic Minor Scale.
According to the same principle, viz.: that we
should proceed from the known to the unknown, the
following is the rule for the melodic minor scales.
Rule.
To form any melodic minor scale take the major
scale of the same pitch and lower its third sound one
semitone ascending. In descending use the notes of
the major scale of the lowered sound. Thus, to write the
scale of G melodic minor, take the scale of G major;
lower its third sound. The third sound is B; lowered
it becomes B flat; descend exactly like the scale of
B flat major.
G MAJOR.
form.
Rule.
To form any harmonic minor scale cake the major
scale of the same pitch and lower its third and sixth
sounds a semitone.
G MELODIC MINOR.
D MAJOR.
A FLAT MAJOR.
D HARMONIC MINOR.
3
6
6
A FLAT MELODIC MINOR.
8
.
-
'J' - ,,
B FLAT MAJOR.
The signatures of the minor scales are also a
source of trouble to teacher and pupil. Every minor
scale, whether melodic or harmonic, has the signature
of the major scale beginning on its third sound. For
instance, the third sound in the scale of C minor is E
flat, the signature of C minor is the same as the signature of E flat major, i. e. three flats.
Those major and minor scales having the same
signature are said to be "related."
Those major and
minor scales having the same keynote are said to be
tonic major and minor. C major is the "relative"
major to A minor; A minor is the "relative" minor to
C major. C major is the "tonic " major to C minor,
and C minor the "tonic" minor to C major.
B FLAT HARMONIC MINOR.
Before the pupil attempts these at the keyboard
they should be written out again and again until they
are thoroughly in the mind.
42)
Pronouncing Dictionary of Musical, Tcris.
A LIST OF SUCH TECHNICAL
Abbandono (It. a-ban-d'-nS), Con.
With abandon.
Abbreviations,
Accel.,accelerando M. D., mano desAd lib., ad libitum
tra; main droite.
Afet., affettuoso.
Mez., mezzo.
Allo., allegro
P., piano.
Allglo., allegretto. Ped., pedals.
Andno., audantino P. F., piu forte.
Ande., andante.
P. P., pianissimo;
Coil' 8va, coil' otpiu piano.
tava.
R. H., right hand.
Cal. alando.
Rail., rallentando.
Cres., crescendo.
Rf., Rfe., rinforD. 0., da capo.
zando.
D. S., dal segno.
it., ritardando.
Decree., decrescen- Rten., ritenuto.
do.
Scher.,scherzando
Dim., diminuendo. Sfz., sforzando.
Dol., dolce.
Smorz., smorzando
liprv., espressivo.
Soet., sostenuto.
F., forte.
Stacc., staccato.
F. F. fortissimo.
String., stringendo
F. P., forte-piano.
Ten., tenuto.
Fe., Fe., forzando; Tr., trillo.
sforzando.
Treem., tremolando
L. H., left hand.
Uei., unison.
Leg., legato.
Var., variazione.
Marc., marcato.
V. S., volti subito.
(For the definitions and pronunciations of the foregoing words, see under
the words themselves throughout the
Dictionary.)
In
A Capella (It. a-ca-pll'-la).
church style-i. e., the voices without accompaniment.
A Capriclo (It. a-c-pre'-tcho). At
caprice; at pleasure.
Accelerando (It. a-tchel-a rln'-do).
Accelerating the time.
Accentsato (it. a-tchen-too-a'-to).
Accented.
Acciaccatura (It. at-tchack-a-too'
ra). A short appoggiaturawhich is
crushed against the principal note.
Accompagnamento (It. a-kim-panyi-man'-to). Accompaniment.
Acoustics. The science which treats
of the nature and laws of sound.
Adagio (It. a-da'-jo). Slow; a slow
movemett.
Ad a g lssimo (It. i-dajees'-1-mo).
Very slow.
Ad Libitum (Lat. ad lib'-i-tum). At
pleasure.
Key of A major.
A Dur (G. ii dr).
Affettuoso (It. a-fet-oo-i'-zf). Affectionately, tenderly. Con Affetsoso. With feeling.
Agility,
h-jIl'-l-t).
Agilita (It.
quickness.
Agitato (It. tj--t'-to). Agitated,
restless; usually implies hurrrying.
Al, All, Aila (It. al,al'-la). To the;
in the style of.
measure, usually
Alsa Breve (It.).
marked e.
Allegretto (It. al-lay-grit-to).
Moderately quick ; notso quick as allegro.
Allegro (It. al-l'ay'-grfi). Cheerful,
Joyful ; a quick movement.
Al Segno (It. sain'-yoi). From the
sign; return to the sign and proceed
to the word Fine.
Alta, or 8va (It. at'-tii, or ot-tk'-vii).
An octave higher than written.
Amabile (It. a-ma'-be-la). Lovingly;
gentls; tender.
A Moll (Ger. a, mill). Key of A
minor.
Amnoroso (It. Am-b-ro'-zfl). In a loving style.
Andante (It. an-diin'-t&). Literally,
going at a moderate pace; moderately slow movement.
Andantino (It. Asn-dan-tee'-no). Diminutive of Andante! consequntly
WORDS AN~D
A r dIto (It. hr-de'-t).
Ardor;
warmth.
Aria (ar'-iai). Italian for air or melody. Arietta. A little air.
Arpeggio (It. ar-pidg'-jo). A broken
chord. The tones of a chord performed in succession instead of
simultaneously.
Articolato (It. ar-tic-o-lar'-to). Distinctly.
As (Ger. lie). A-fiat (A).
Assaf (It. as-si'-e). Very; allegro
eesai, very fast.
A Tempo (It. k-ttm'-pi). In time;
a return to the original time after a
change has been made.
Attacca (It. it-tak'-lta). Attackc; as,
attacca anbito, attack the next quickly.
Bar. A line drawn through the staff
to denote the division of the time in
a piece of music.
Bass clef. The sign of the bass staff.
middle C on the firot added
It
line above.
Basso (It. Bass'-so). Bass.
fixes
B Dur (Ger. hay dooir). B major.
Ben, Bene (It. ban, bi'.ne). Well,
good.
Bis (It. base). Twice.
Breve. A double whole note.
ante (Fr. bril-yan'-ta). Bril
B ril
liantly.
Brio (It. bra'-i). Spirit, vigor, force.
Cadenza (It. ka-den'-tsa). A flourish
of indefinite form, introduced immediately preceding the close of an
important section of the composition.
Calando (It. kal-lan'-do). With decreasing force and speed.
Calmato (It.). Calmly.
Cantabile (It. kan-ta'-bt-ls). In a
singing style.
Cantando (Tt. kan-tan'-do). With
a singing tone.
Capo (It. kii'-pfl). Head or beginning.
Capriccio (It. kiipre'-tchi). Caprice
or fancy. A composition irregular
in form.
Capriccioso (It. ka-pre-tchS-o'-zo).
Capriciously.
Celere (Fr.). Quick, swift.
Choral (Ger. ki'-ral). A slow sacred
tune.
Chord. A combination of musical
sounds, consonant or dissonant.
Chromatic. The tones intermediate
between the diatonic tones of a key.
Chromatic Scale. A scale in which
all the tones occur in successive
order.
Clef (Fr. klif ). A key. A character
used at the beginning of a staff to
determine the pitch.
Coda (It. ki'-da). An added part.
Commodo (It. kilm-mil'-do). Easily,
without haste.
Con (It. kiln). With; as, con brie,
with spirit.
Con Delicatezza (It. del-le-cai-tet'sas). With delicacy.
Con Disperaxione (It. des-par-rittsieil'-no). With desperation.
Con Dolore (It. do-lo'-re). With
sadness.
Con Eleganza (It. el-A-gant'-sii).
With elegance.
Con Energico (It. hn-er-gee'-co).
With energy.
Con Espressione (It. es-prey-si-iln'no). With expression.
Con Fuoco (It. foo-aw'-cil).
With
fire.
With fury.
Con Furls (It.
foo'-rl-li).
PHRASES AS THE
PIANO
t
Diminuendo (It. dim-in-oo-n -do)j.
Diminishing in power.
Dolce (It. dfl-tchay). Sweetly.
Do l c iasaI m o (It. dll-tch'-si-mol.)
Very sweetly.
Doloroso (It. dil-lo-ri'-z).
The fifth
Dominant.
Sadly.
of the scale;
the chord on that note.
Doppel Foote (Ger. dlp-pel fil-ti).
An organ stop coiposed of wooden
stopped pipes with two mouths.
Dopplo (It.). Double; as, doppio
movemento, doubly as fast or twice as
fast; deppio pedale, with double
pedals.
Dot. A point placed after a note or
rest which adds one-half to the
value; a second dot adds half as
much as the first.
Double Bar. A broad bar drawn
across the staff to indicate the end
of a strain, or of the composition.
before a
Double Flat. Two
note, indicating that a tone two halfstep below is to be used.
Droite (Fr. drwiit). Right; as, main
dreite (mang drwht), right hand.
Dur (Ger. door). Literally hard. German name for major mode.
Dynamics. That departmentof
musical science which relates to, or
treats of, the force of musical sounds.
E, Ed (It. eh, ehd). And.
E Dur (Ger.). The key of E major.
E Moll (Ger.). The key of E minor.
fiats
(It.
Energico
getic.
en-br-gee'-co).
Ener-
E qua1me nmte
Equal ; evenly.
Es moll, li-fiat
Es (Ger.
minor.
ess-press-see'-vo).
o
(It.
E a p r e sslv
With expression.
Etude (Fr. a'-tood). A study, in contradistinction to an exercise.
Facile (Fr. fa-seel'). Easy.
A fantasy.
Fantasia (It. ffsn-tli'-ze.
Finale (It.
t. The end.
f
Fine (It. fee'nd).
Forte (It. fflr'-t6). Loud.
Fortissimo (It. folr-tees'-a-mal). As
loud as possible.
Forzando (It. flrt-shin'.di). Sudden
force.
Fugue (fug). A composition in contrapuntal style, in which a subject,
taken by one part or voice, is
answered by other voices according
to certain rules.
Fuoco (It. foo-a'-kfl). Fire, energy.
Furioso (It. foo-rel-i'zil). Furiously.
Gauche (Fr. Gaweb). Left. Main
Gauche, left hand.
Jocosely.
Giocoso (It.
Gluato (It. joos'-to). Exact; as, tempo
giusto, in exact time.
Glissando (It. glis-sain'-dol). Playing
a rapid passage on the piano by slidalong on
ing the tips of the
the keys.
Grandioso (It. gritn-dt-O'-zil). Grandly.
Grave (It. grii'.vl). Slow; solemn.
Gravita (It. gral-vc-tli). Gravity;
majesty.
Grazia (It. griit'-se-ia). Grace; elegance.
Grazioso (It. griit-se-al'-zo). Gracefully.
Gusto (It. goos'-to). Taste ; as, con
gusto, with taste.
Half-Step. A term of measurement,
being the smallest now in use.
H Durt (Ger. ha doolr). The key of B
major.
Impeto, Impetuoso (It. em-pa-to',
em-pa-too- o'-zo). Impetuously.
Indeciso (It. en-du-tcht'-zo).
cision.
(ewal-men'-ta.
As).E-fiat.
fd-na'-l6).
jil-ki'-zo).
fingers
Inde-
PUPIL WILL MOST
FREQUENTLY NEED.
Mezzo (It. mit'-so). Half; medium.
Moll (Ger. mil). Soft; minor.
Molto (It. mil'-to). Much; very
much.
Morceau (Fr. mir'-il). Short musi-
cal piece.
Morendo (It.
Dying
away; indicates diminuendo and
rallentando combined.
Moaso (It. mil'-s). Motion ; as, meno
moss, lees motion.
Moto (It. mil'-to). Movement.
Natural. A character used to cancel
or sharp.
the effect of a previous
Nocturne (Fr.). A night-piece or
serenade.
Non Troppo. N{ot too muche.
Octave. Eight degrees or tones from
any given tone, either above or
below.
Octet. For sight voices or instruments.
Ossia (It. os'-see-ar). Or else; otherwise.
Pause. To hold. A sign (y) denotiog an indefinite stop.
Pedal. A lever operated by the foot.
Pensoso (It. pen-so'-zo). Pensively.
Perdendosi (It. pehr-den-do'-ssel.
Dying awvay.
Pesante (It. pa-zan'-t). Ponderous,
heavy.
Phrase. A short tons-chain which
makes sense, but not complete sense
Piacere (It. p_-a-tcha'-re). Pleasur e,
fancy.
Soft; gentle.
Piano (It. nS-hi'-nO
Pianisamo (pp) (It. pee-an-iss'-seeme). Very softly.
Pie (It. pt'-oo). More; as, pin mosso,
more movement.
Placid;
Placido (It.
pleasant.
milrln'dil).
flat
pii-tchS'-do).
Plagal Cadence.
final
A cadence in
tonic chord is prewhich the
ceded by the sub-dominant.
Poco (It. pil'-). Little; as, poco
animate, a little faster.
A Polish
Polacca (It.
dance in 3-4 measure.
Polka. A Polish dance in 2-4 measure, the third 8th-note being accented.
A movement
Polonaise
of three quarter-notes in a measure,
with the rhythmical cmsura on the
last; also a dance adapted to such
music.
Portamento (It. pilr-tit-maen'-to). A
carrying of ties voice, or gliding
from one tone to another.
pil-la'-kli).
(pil-il-nttz').
Potpourri (Fr.
po-poor-ee').
A mix-
ture ; a piece of music composed of
different airs strung together; a
medley.
Precipitato (It. pra-tchS-pS-thi'-til).
In a precipitate manner; hurriedly.
Precisione
Precision;
pra-tchS-zS-O-nS).
(It.
exactness.
Prelude (It. pra'-lood).
A short introductory piece.
Extremely
Presto (It. pras'-to).
rapid.
Prima (It. pro'-mai). First.
Prima Volta (It. vil'-tii). The
time.
Quadruplets. Four equal tones performed in the time of ono pulse.
Quasi (It. quah'-see). As if; in the
style of.
Quintolets. Five equal tones performed in the time of one pulse.
R ali1e n t an d o (It. riil-Sn-tan'-dO3).
Gradually slower and softer.
Recitativo (It. rit-tchl-ta-tee'-vil). Amusical declamation.
Refrain. The chorus of a song; that
which is repeated at the end of each
stanza.
first
Sforzando (It. sffirt-san'-do). With
force.
Signature. Sharps or
fiats
placed at
the beginning of a piece to indicate
the key.
In the
Simli (It. see'-mee-lee).
came manner
Sinistra (It. sin'-is-trl). The left
hand.
Slur. A curved line connecting two
or more eotes, to show that they are
to be played legato.
S mo r za n do
(It. sm~rt-elin'-do).
Gradually lainter and softer; dying
away.
Sonata (It. sO-n'.ti). A composition,
usually consisting of three or four
movements.
Soprano (It. sil-prk'-nil). The highest
female voice.
Sostenuto (It. ss-ten-oo'.ti). Sustamning the tone.
Spiritoso (It. spr-r-til'-zil). In a
spiiited manner.
Detached;
Staccato (It.
distinct; separated.
Staccatissimo (It. stac-cali-tee'-seeVery detached; extremely
mo).
staccato.
Stretto (It. sn-to'). Contracted ;
close. That part of a fugue in wheich
the subject and its answer are
brought closely together.
To
Stringendo It. stren-jan'-do).
press; hasteeing tee time.
s
Subito (It. soo-be' -to). Quiclkly. Suite (Fr. sweet). A form consisting
eovenents. The preof several
cursor of the sonata.
Suspension. The holding of tones
proper to a chord while retaining
tones of the preceding chord, thus
producing a discord.
Symphony. A sonata for full orchestra. The most important of all
instrumental forms.
The displacement of
Syncopation.
rhythm by driving the accent to
that part of the bar not usually
accented.
Tacet (Lat. tit'-set). Silent; a direction for a vocal or instrumental part
to be silent.
Tarantella (It. tir-iin-til'-li). A
rapid Neapolitan dance ice6-S measuse; named after the spider called
tarantula, whose bhte is popularly
supposed to be cured by music.
!movement.
Tempo.
Tenor. The highest male voice.
Tenor Robusto (It. ro-boos'-tO). A
strong tenor voice.
Tenuto (It. ten-noo'-t). Sustained,
heeld.
Terzetto (It. tart-sfet'-tO). A short
piece for three voices.
Thema (It. t'-mli), Theme (Fr,
tam). Theme. The principal melodic subject.
Thorough Bass. A spec-lee of musical short-hand. It consists of the
added which
bass part, with
indicate the accompanying harmonies.
Tierce (Fr. tre). A third.
Tonic. The key-tone; the tone from
which all other tones are reckoned.
tran-quil'-lo)
(It.
Tranquillo
Quietly; tranquil.
Tre Corde (It. tra kicr'dht). Three
strings; discontinue the soft pedal.
Tremando (It. tri.-man'-du). Trembling; vibrating.
Tremolo (It. trfu'-mO-lO). A note or
chord made to quiver or shako.
Triad. A chord consisting of three
tones-viz., a fundamental with its
third and its
stli-khi'-to).
Time;
fignres
fifth.
Con Velocita
Appoggatura (It. hp-pldgji-too'-
ra), from appoggiare, "to lean upon."
(Gder. Voreehlag). A melodic ornament, both vocal and instrumental.
The long Appoggiatura receives half
the time of the following note, and
is expressed by a grace note; the
short Appoggiatsura is crushed against
the following note, and is expressed
by a grace note with an oblique dash
through the stem. The short Appoggiatura it the acciaccatura.
Consists
Appoggiatura, Double.
of two short notes before a note of
melody, one below and the other
above the principal note. In all
cases the time of both is taken from
the principal note.
(It. vi.-lo-~tchS-tii').
With velocity.
Crescendo (It. kris-shian'-dil).
creasing in power.
Da Capo (It. da kiep'-o). From the
beginniiig.
In-
Da Capo al Fine (It.
11ifee-nay).
From the beginning to the word
Fine.
Dal Segno (It. diai hn'-yo). From
the sign.
Damper or Sustaining Pedal.
Improperly called "loud pedal." A
mechanism which raises all the
dampers at once, thus allowing the
strings to continue to vibrate.
Decrescendo (It. dh'-crh-shan'-do).
Decreasing in power.
Deciso (It. day-chee'-zo). Decisively.
ing the time.
Lento (It. ln'-tO). Slow.
Loco. As written; used after 8va.
Lusingando (It. loos-in-gfn'-do).
Caressingly.
Ma (It. ma). But.
The hand.
Main (Fr. ming).
Mano (It. m'-no).Thh
Mancando (It. man-kan'-do). Dying away.
Marcato (It. mar-kar'-to). Emphatic ; marked.
Menu (It. mi'-no). Le..
Metronome ('may-tro-nom). An instrument for measuring time. A
clock-work, to the pendulum of
attached a sliding ball.
which
is
Beepage 18.
Rubato (It. roo-bit-tO).
Robbed,
stolen; as, tempo rubato, borrowed
time-d. e., some tones held longer
than written, while others are proportionately curtailed.
Scherzando (It. skert-sin-do). Playfully.
Scherzo (It. skert'-ea). Play; sport.
Sempre (It. sim'-pry). Always.
Senza (It. sent'.sa). Without; as,
senea
pedale,
Septolets.
without
pedal.
Seven equal tones performed in the time of one pulse.
Six equal tones perSextolets.
formed in the time of one pulse.
Sforza (It. sflrt'-sii). Forcing or
forced
mu).
Very rapidly.
Vibrato (It. ye-bra/'-tO). A tremulous
quality of tone.
Virtuoso (It. vdr-too-l'-zO). A skillfel performer upon a special instrument.
Vivace (It. ve-va'-tchi). Qucl
sprightly.
Vivo (It. vee'-vo). Sprightly, with,
life.
Voce (It. vO'-tchi). The voice.
Volti Subito (It. vill'-tS soo-bee'-tol.
Turn quickly.
Vox (Lat. vex), The voice
USelected List orPieces and BooKs Rec
ededtor Use with ti 0
1III LI1III~-I~I
.25
JONES, L.
Mabel's Favorite Schottische
.25
.25
KAISER, P.
Op. 2, No. 5.
Op. 2, No. i.
ALLEN, A.
Gavotte
......
BEAUMONT, P.
Boris, Polonaise
With Stately Grace Minuet.
BINET, F.
Queen Fairy echo '~iie
BLUM, 0. R.
Dream of May.
.
.
.
.35
.
"
.
Young Cavaliers March.
.25
MUTTER, C. F.
Jolly Guardsmen March.
COX, N. B.
Quiet (The) Brook, Reverie......
DAVIES, J. H.
Op .
41, No.
NURNBURG,
2.
Hunting Song
EILENBERO, R.
Op. 210, No. 6. On the Swing
Op. 210, No. i.
With Drums and Colors Flying
March
At Dawn, Reverie
No. 2.
FRYSINOER, J. F.
Op. 6, No. i.
Op. 6, No. 2.
.
.
.
.
Queen of Night Polka
FRANKE, M.
.
. .....
Forest Child...
Gipsies (The)............
Squirrel (The) ................
FRANKLIN, F. A.
Op. 34, No. i. Dancing Elves
Op. 23,
.
-
.
Polonaise.
Dance.
Rustic
..
..
..
..
.
.
.
.25
.20
.25
SARTORIO, A.
Op. 229, No. 17.
Op. 229, No 20.
.
Merry Maiden Gavotte
Nymphs at Play Mazurka
Beautiful Star Waltz.........
Op. 83.
op. 75.
Marche Guerriere......
On the Blue Lake
.
"35
".30
.
"35
.
.30
.
.......
Happy Birthday Waltz
.
....
Happy New Year Gavotte..... ..
Merry Christmas March ..
..
..
..
"35
.35
.35
.
.
..
..
..............
GOERDELER, R"
In the Magic Garden, Reverie
Magic Dance Schottische ..
HEINS, C.
.25
.25
Cuckoo Clock (The)
".30
-30
Op. 198. Light Cavalry .
HENSCHEL, A. P.
Gnomes Revel Galop... .. ..
HILLER, P.
Op. 66, No. 7. Happy Carpenter
H-OLST, E.
Carnation March ........
.
.
.
UstiC
.
25
. . ..
"
.
ancti
"r
*
"
"6
0
.
"0
.
Moonlit Ocean, Romanza..0
.
0
.31
.25
.25
.25
.25
.25
.25
.20
229,
.20
.30
.30
.30
"35
"
,
.20
.30
.30
.
Torch Dance
No. i i.
6.
.25
Free as Air
Spring is Here
SCHARW EN KA, X.
.35
.
"
Contentment
.25
GEIBEL, A.
Lily Waltz
No. 3.
Gavotte
Op. 62, No . i o.
SCOTT, C. A.
.
.25
.
.30
.30
Scherzino
Dwarf's March ....
Op . 48.
224.
Op.
23,
.25
GAEL, H. van
Op.
Op.
SANFORD, E. L.
Miller (The) and the Mill
"35
.
0
"35
.30
.50
.
0
H.
Op. 62, No.
.
"
.
General Bum-Bum March
RICKABY, T. L.
.25
..
0
POLDIN I, E.
-30
ENOELMANN, H.
Op. 430, No. i.
Op. 308, No. 4.
Op. 705, No. 2.
"
Youth's Marching Song ..
"35
...
0
KULLAK, E.
Op. 4, No. i. On the Green
Op. 4, No. 2. Witch Dance.
.25
.25
0
Polka.
Polonaise
MARTEL, C.
Funny Old Man Polka.
...
Little Mister March
.35
"..
Nimble Feet Polka. .. ..
0
.
.
.
.25
.
SMITH, HANNAH
Iris Gavotte.... .. .. .. ..
Polketta..... .. .. .. .
Valsette.... . .. .. .. ...
.25.
.
.
.
.
.
-35
.25
TOURBIE, R.
Op. 207, No. 5.
Gavotte
.25
...
TSCHAIKOWSKY, P.
Lark's Song.... .. .. .. ..
. .
Op." 39, No. 8 . Waltz...
WANDELT, B.
Op. 8. Dancing (The.) Bear
Op. 8. Tyrolienne ..
.
.20
.20
..
..
....
WENZEL, H.
Bell in the Valley..
Brook in the Wood..
WILLIAMS, F. A.
Op. 31. Children's Festival Waltz
Op. 36. Rustic (A) Wedding March
00
.20
.20
.30
_35
r"
'F'P
WOLCOTT, J. T.
Flying Fancies Mazurka... .. .. ..
Flying Fancies Polka.. .. . . . .
WOOLER, A.
Little Cavalier March
COLLECTIONS
Pink. Op. 295. Rural Pictures (Hatch Edition, No . 70)
Hasse. Op 52 Children's Corner (Hatch Edition, No. 73)
. . .
. .
Hem's Album (Hatch Edition, No. 74)
Horvath. Op. 20. Bon-Bons (Hatch Edition, No. 71).
In March Time Album of Easy Marches.... .. .. ..
.6o
.50
.50
.50
.50
Melodic Sketches
Model Second Grade Pieces......
Reinhold. Op. 39. Miniature Pictures (Hatch Edition, No. 69)
.
Stray
.
.
Fancies.................
Endless Amusements.
.
Four Hands
.
.50
.50
.6o
.50
.50
New
Revised Xdition
and
MelodicSece
TIME
IN________
Tenty-four
*.ty-six Delightful and Easy Marches for First and
Second Year Pupils
It is universally acknowledged by all teachers that
m*=positions in " March " form are the most attractive
and interesting to young pupils.
In offering this volume to teachers and pupils, we
feel confident that its welcome is assured. None but pieces
of approved merit have beets included in its contents, and
of the most inspiring character with decisive
all
and well-marked rhythm. Eiach piece in this hook is a
gem and will he found a most valuable aid to cultivate a
love for music. and an ambition to produce it. IN MARCH
are
TIME is the ONLY
COLLECTION published consisting en-
tirely of marches for first and second year pupils, and
the large demand for such a collection has prompted its
fingered
All are carefully
compilation.
for the organ as well as the piano.
CONTENTS
0.o.
O e " P.e.
o
Alpine o .
.
.
. . .
ways Gay . ".".
and are adapted
Promenade
Carnation...............
Beach
.
Dwarf's
Festal
.,
March
.
.
.
ee
..
.
o
"
.
.
e
.
Little
Hunter
.
.
-eHeifer
.
.
....
..
.
.
.
.
Little Mister.
.
.
.
...
.
..
General Bum-Bum .......
jolly Trumpeter........
. ......
Little Boy Blue......
Little Drummer
Little Trumpeter..
Magic King . .-..
.
.
.
.
.
..
.
of the.Guards.
Queen of the Mist9.............
Reveille."VP..................
and Colors Flying.
With Drum
Cavaliers
Young
. .
Behr
.
*Goerdeler
Rickaby
-.
Tourbie
*vanGaet
The large sale and constantly increasing demand for
M
roDnc
SKtTCHIS is an admirable collection,
designed for use in the second grade-contains
nothing above or below that grade. It presents a
contrasts-contrasts
series of
of tone, quality
and
of character, contrasts
combining
touch-thereby
beneficial instruction with recreation and amusement. It follows the latest educational methods
seeks to instruct by means of pleasing forms, which
cannot fail to awaken to youthful minds a desire
for knowledge. Carefully fingered and edited.
CONTENTS
Wenzel
Alpine (The) Hunter.........
. Wenzel
Brook (The) in the Wood . . . . _a.
Guimant
Chanson dEnfant............
Behr
Far From Home-Tone Piece, Op. 6o6
Festive (The) Dance, Op. 140, No. 7 . . . Gurliit
Harlequin.......
...
Streabbog
..
Wandeil
Heart Leaves. Op. 8, No. 4 ..
..... Garlizt
Hunt (The), Op. 130, No. 29.....
Weiss
Hunting Song, Op. s9, No. 5.. .......
Mendelssohn
Klavierstiick, Op. 72, No. 1
Little (The)
Love Song.
Moonlit
.....
Coquette-Rondo
Ocean-Romanza
Our Loved
. ..
...
Behr
-..
.
o.
Biehi
L
.
Blum
.Nurn berg
Child, Op. 53, No.
Rondo Militaire ........
29.
19, No. '3.
Spring, Op. 169, No.i.
9.
Ho/st
Behr
...
..
.........
..
Gurit
......
One-Tone Piece, Op.
Orphan
Justis
Giocoso.
..
....
On the Heath ..
Poor
Engenzann
.Glnsehais:
.... Hirsch
. . Biehi
.
Biehi
....
said:
Itpresents a series of contrasts of tone
second grade music.thereby
combining instruction with rec-
quality and touch,
reation and amusement. It seeks to instruct by means of
to awaken in youthful
pleasing forms which never
minds a desire for knowledge."
In selecting the music for. STRAY FANCIES, the editor
maintained and strengthened the characteristic features
which have made our Fifty Cent Books the most useful
series ever published-n-seful not only as collections of
fail
of music-book paper.- Some idea
grade,
bobtained from a glance at the
Dause Norwegienne,
Dream
of May.
By HANNAH
to the keys of four sharps and
flats,
graduial steps
the youthful
player is led almost imperceptibly through little
difficulties that
are'
not noticed, so pleasant and
easily has the path been made, In the same quiet,
insinuating way are the rhythmic probleis introduced and overcome. Having accomplished all the
astonish-
numbers, the performer looks back with
at the ground whlch has been covered, while
ment
they were only conscious of being amused.
The composer is a teacher of experience and
recognized merit, and he has here presented.the
music forms which his knowledge assures him will
studet.
be of value and interest to the young
extended chords are introduced, and each
is carefully phrased and fingered.
ICE,50
Ct;'SN
No
unsb
Watson
B/am
.
Op. 215,
Harlequin.
No. 19.
u
Ba mfelder
.
In,
phrasing;
Pieces
for
PupilsRereain
its
youth-
ful
CONTENTS
The Little Shepherd
The Hobby Horse
Evening Hymn
April Song
Stars and Daisies Waltz
Chimes
Elfin Horns
Carrousel
The
The Dancing Lesson
Little Miss Pollywog
Automobile Ride
On the Lake
Pussy Willows Polka
Holiday Time
music student. when the step is taken which leads beyond
an
an cvi=
the first grade
To the young mind it
lee ofUadvancement,a-period when new things are'
investigatedAfter, successfully passing this point,
old ground, and to realise
there is a desire to goover
and feel the sense of confidence and freedom with which
work of the early grade Is played. The aim of PUPILS
is
e
epoch
t
the
first
is to assist ina the blending of the
therebygiving instructive
Price,, 50 cents ,: net
CENTS
-RECREATIONS
second grades,
SMITH
advancement while affording recreation. Great extensions
of the hands are avoided-so often the bane of young
players. Each number is preceded by a charming little
poem, setting forth the sentiment expressed by the music.
This is a great aid in stimulating the imagination of
musicians and in the formation of a correct taste.
Fingering is given at the necessary places, but the player is
required to exercise judgment., Printed on best quality
music book paper, and tastefully bound.
The Star
Summner Days
Dolly's Cradle Song
The Woodpecker
The Silly Little Dog
Sleepy Time
The Snowbird
The Hunter
Hans and Gretel
The Brooklet
Evening Bells
The Robin
Lullaby
Op. 254,
a Gondola.
Thirty Selected Compositionsin First and Second rad
IT -IS AN INTERESTING POINT in the progress of the
A most valuable collection of easy pieces for the piano,
that have the attribute of being instructively elevating, as
well as intensely pleasing. In this beautiful congregation
of first grade compositions will be found all the varieties
of primitive forms. Grave and gay; serious and jocose.
All the styles are here co~mbined ; each one furnishing
example of touch and
Thomna
Little Waltz. Op. 10 . Dolet
the
Woods,
Mail Coach in
Ei/euberg
Merry Huntsman. Op. 31,
Merkel
...
No.2. ..
Petite Valse. Op. 26, Liadoni
Pleasure of the Dance. Op
Scharwenha
68, -No. I
Polonaise. Op. 2, No. 1,.
Kaiser
Ring Around a Rosy Op.
Ei/enberg
'40, No.2
Scherzo. Op. 308, No. 3,
Eage/mann
Song of the Elves. . Behr
Toc anc e.' Op. 229,
.Sarlerie
No.10.
Youth's Marching Song
PRICE, 50
the Piano
in
notes, and proceeding- by very easy
Melodious
Little Ballad. Op. 61,
Weiss
.
Evening Song .
Fresh Breezes--Waltz,Hos
CENTS
LITTLE MUSICIANS
Collection of Easy and
may
Op. 79,
van Gael
SLa Riese-Polka.
-1,
ohtm
...
No.5....
lIn the Mill. Op. 239,
Gdnsch als
Jly~uardstklen-March,
Mutter
A
its worth
of
CONTEN'TS
At the Twilight lour,
Beaumont
Derceuse, Op.SOS, No.
linge/man
Cheerfulness. Op. 60,
. .
. Schultz
No.1
Dance of the Sylphs. Op.
.. Lege
59, No. 1...
..
.. 1eins
Summer Joy, Op. 181, No. 3...
Giese
Tarantelle, Op. 293, No. t........
Under the Blossoms, Op. 112, No.3. . . Lichner
Village Fete-Rondo, Op. 188......Lebierre
....
. .
FOR
carried
of exceptional value for educational
very large amount of valuable material was
purposes.
critically examined before the, collection was completed,
and when the final selection of subjects was made, each
piece was carefully edited, fingered and annotated. Neither
expense nor care was spared in its preparation and publication, and we have no hesitation in saying that it has few
equals-=certainly no superior.
STRAY FANCIES is printed from new plates on a fine
RHYMES AND RHYTHMS
The governing ideas in this beautiful collection
are the study of the scab.s and the development of
out
the strength of the left hand. This is
Each number,
in the most attractive manner.
while appearing as a recreation, is really a little
study of an interesting character. Beginning
the key of C, using only whole, half and quarter
music
A but
for recreation,
Hobby Horses. Op 25,
. Schwaulzer
No.1I.
PRICE, 50
P1e
naturally led to inquiries for another
collection of second grade music, and the companion vol'
ine, issued under the above named title STRAY FANCIES
met with a hearty reception. In the initial description o1
"An 'admirable collection of
"Melodic Sketches,". we
Weiss
....
e . Lichner
Spinning Song, Op.
CENTS
Nine Melodious and Instructive Piano
Introducing the Scales and Strengtheilng
the Lef t fand
BY WeALETE
Sketches"
Melodic
Playing Soldiers, Op. 44, No. 1.....
-.
Youth's Marching Song... . ......
PRICE, 50
.
.Eilenberg
e..
.o.
.Poidini
J1/orvath
.Engiemann
Horvath
van Gaet
Mar/el
.-
.
.
.
.. .
....
March. .. ....
. ..
.....
March . . ...
March Guerriere. .............
March of the Little Soldiers.... .. .
Merry Christmas .
(Palrade
Schiild
Hoist
. . Hoist
Scott
..
"
1'wetymfive Selected Compositions in the Second Grae
Second Grade
Schieuning
Al
,Buro
C~aratelps%~'Fancies18
Characteristic Pieces inth
and
and to accomplish it in such manner as
to make the transition almost imperceptible. The volume
is nearly equally divided with compositions of grades one
and two, but arranged so neatly that one may pass from
the lower to the higher unconsciously, thereby greatly
assisting in the development of the player, Attention has
been given to the selection of Goon music, not simply
compositions are of a
p leasing tunes, although all
tuneful character. We recognize the great importance of
correct training in the early periods, hoth in study and recceation, therefore the fingering and phrasing has had
special revision. A most valuable addition to our cats-
the
rogue.
CONTENTS-
&t the Shoe Clapper Dance in Tyrol, Op 52, No. 5. "IFrank
Revoir, Op. 503, NO, 30..
Polka, Op, 408£ No,...
.
......
Doll's Dance..
&u
C~urley
Locks
.gunny Old Man Polka.....
Gavotte, Op. fi2, No. 6
.
.Beh
.....
. ..
of Youth,Op.-
5,
No
Joyous Days
Kermess Schottische, Op. 289, Noe
.A'Sckarweato
.oldirs
... ...
.
.
. .
O~hl
1
.
Owl ...........
Ga&s
Hi//er
Goerde/er
vr
Goerde/er
.
6,
0.00..-..
.
.
",
.
.
PICE,50 CENTS
A//en
Sanford
Langendor~
.
B/umn
.......
.
.
..
.
Streabbog
Mazurka.......
" " ..
.
.......
o ,..."
ilntage (The) Festival..............
Streabbog
Hei-
,.,..,.van
.
Such Fun Waltz ..............
WiseOld
,
.
.
Petite Tarantelle.........
P'olish Dance.....
.....
Rural 'Charms, .Op. 105, No. 3.........,
School Festival Polka
F......jehi
.
.
,
No.
Bieh
. Giuliani
Rohre
..
Mill .........
..
..
...
Millert The) and the
Vlyosotis, Op. 7,
a.......
.
...
....
Queen Gavotte........
Merry Party Calop, Op. 288, No. 6.
John
Rickaby
.
..
33.".
ftight Cavalry, Op. 198
... .....
f~ittle (The) Hunters March, Op. 56,
',ittle Rider, Op. 66, No.4...... " " . " .
..... "
Magic King Matrchb......
Kugel
..
.Marie
Gbeneral Bunx.Bum Marche........
Glipsies (The) are Coming, Op. 251; No
Glolden Rod Galop,Op. 37. No. r .
Hians and Gretchen, Op. 143.' Nos 4........
H-appy Holidays Schottische........
In May, Op. 134, No. I.............
;Magic
Menut
Engelman,
....
.a
.-
,
......
._ .
He//er
. Behzr
Wo/j
Giuliani
Gurui
d
Choice Melodies for Piano
SECOND
Model Second Grade Pics
GRADE
To
benefit musical students and advance them, almoet Iooslbly 5
trugh their recreations should be the aim of every collection
youehflsl pianists.
in the preparation of CHOICE MELODIES
be SECOND GRADE much time and thought has been devoted
to this end.
The cosopositons of the nost experienced teachers
end educational writers have been selecled, and in the selection ef
fort has been made to present contrasts in style and mood. Variety
s must essential, or our young players would become sadly one-sided
sot only in taste, but also in execution. It is bad for the student to
be always playing runs, and aeve' chqrds; always practicing fager
louch, andnever
touch-,or vice versa. To perfect such a plan in
the preparation of a hook, requires more attention to detail than
would be supposed by the casual thinkerIn this volume we batter
ourselves that we have succeeded in assembling a collection that wil
pease as well as he of educational value. As is usualin all our publieations, the most careful attention to ingeriag, phrasing and clewc
mess has been given.
Two Little Players
for
Grade
Piano Duetts WlthoaFirst and Second
Octaves Arranged in Progressive Order,
Arbutus Polka .
......................
Sutto
At the Water Mill..............
..
Freytag
Distant Sounds..
............
Beaumont
Dwarfs' March..........
Gnomes Revel Gavotte.
.............
Henschel
Happy Days--March Ronde . . . . . . . . . . . . . . . . . Blum
hunting Song.
........................
Kaiser
In the Magic,Garden-Reverie,..........
Goerdeler
Ladybird Waltz ........................
Tucker
Magic Serpent Dance ............
Goerdeler
Marionettes
.
-..
.R
ob..
de
On the Rocking Horse .................
Pndleton
Passing ,Regiment, The.
......
Schytte
Peasant Dance ....
..........
Kaiser
Return from the
Sea Mist, The, ..........................
Schytte
Sleigh Ride............................
Kaiser
Song of the Trave'ler .......
.
Franke
Spinning Song......................Engelmarin
Sunshine ..........................
Pendleton
Sweet Briar .......
:.
...........
:.Franke
Tale of the Amazons,;A..........
..
Ascher
Winter Revels Gavotte
....
..
"With Stately Grace.-Minuet.........Beaumont
Cottonfields.Franklin
Zimmermann
PRICE,
Choice Recreations
Twenty-seven Choice Compositions In Secoadi
and Third Grades.
TEE WISDOM AND ADVANTAGE OF VARIETY IS RECOG>
RISED BY PROGRESSIVE INSTRUCTORS, and it is acknowleded that this-variety ,may exist not
in the charac,
or color of the work, but also in the contrast of grades.
;f the step between be not,too great. In CHOICE RECREA,TIONS both
have been considered; the variety
grade being limited to the second and third. The great
variety of character and tone quality presented will be
quickvlly seen up. onxaminaion of the l4. ristofcotets.I
-only
ter
id'eas
of
Black
Song.
...
.
.0 o ..
..
Magic Clown Polka ............
.
0
.
Reinecke.
......
...
March, Op. aol_.No. s...............Gurlift'
Menuet from Samson...............
Handel
Household Waltz.......
(The),Op. 8i, No.-6".........
Pet of the
Race
Reverie, Op. 308, No. 2..............Esagelmann
Rondo Grazioso, Oo.13INo3."..
Serenade, Op. 19, No.2 ...............
Spinner's (The) Song,
renlied,
O p.77,
-Gatop ...............
Violet
Op.. 26., No.
No-.6..
PRtICE,
.
Martel
..
,Goerdeler
Sartorio
,
Manuel a, Op. 343........
'above sweets.'
EQUAL PERFORMERS
with mere
An examination of Model
Second Grade Pieces will show that this has been the go
erning motive tn its preparation. Among the twenty con.
tributorswill be
the names of teachers and composers
of world-wide reputation. The Mat of contents embraces
most of the styles of the lighter romantic school. Manya.
the compositions are annotated, and all are carefully ',
gered and revised.
found
of the characteristics of the most modem
enabling-either to
thus
perform the Primo or
Secondo
part. which is particularly desirable for young
pupils. The compositions do not extend beyond
the second grade, and are progressive in their-order,
Proper fingering and phrasing has been carefully
indicated, as it is most important the pupil should
learn to play the simplest piece musically, i. e.,
e
proper accent,
with due regard
touch, quality of tone, etc.
Pleasing and favorite muelodie form the basis of
the-collection, -which has been selected from the,
works of the best composers. All varieties of style
have been included, as the collection is intended
have an educational value, as well as to be a
of recreation.
character'
to
to
souros
fal
a
CONTENT
B CValse........
Giulass
......................
Banner Maroli, Op. 1...
.
.
......
1..
..
Kullak
Siehi
Olsen
...
Scharff
..
Hfmenn
.....
,
510,CENTS
Blue
HalS
e..Ortlep
..
Bell (The) in the Valley
.
Children's Festival Waltz, Op. 1
.
Dance of the lves............Jnse
Dance of the Sylphs, Op.
No. Y
GipsDance...............BeaumoHunting of Butterflies, Op. 44, No. ......
. Wn.
.William.
.
..
59,
L
. ..
4
HirscA
243...........Heims
Mabel's Favorite-Schottische.............oes
March, Op. 4, No. 4.
.
............
Hussars, (The) Op.
Kulla
Maypole Dance....................................Betio
Song.
Miller's
Nimble Feet Polka........
.
,
.
.
.......
..
.
.~ekel
Polonaise, Op. 21, No. 1.
. .
....
Frsng
Hesvd.
e
Rough and Tumble, Op. 369, No. 5 ...
Rustic Dance, Op. 23, No.2.
....
Hen
..
..
Sirens, Op.
Bis,'
._->.
Nymphs at Play-Mazurka, Op. 6, No. 2".
Frean
Song of the
59, No. 65...............I
Turkish March,. Op. 148, No. 12 ..
....
Tyrolienne, Op. 2, No. 2
.
Valse Joyful, Op. 40, No.5........
No teachershould
A order
astu
this
and zsahawk
wlkdiou.
4( helpul
A
.
....
-..
..........
PriCE.71
i C8MT
PRICE, 50 CENTS
Second Grade Favorites
The
o
has
been amplified.
thne
mind of the student matures, and the fingers gain strength
and flexibility, the
must be of a- deeper and
Album.
broaderLs~e
nature. As technical peculiarities are overcome
with greater ease, the mental
side should be 'correspond
z.............Rr
ingly advanced, compositions of rubtier shading and
phrasing
'-r
Se 'er
M
_odel March Abum
and i phrsing
Itnkis educational
he hop ofteeio
ulihr the formation
htti
o
idea which ngoverned
FIRST
f
here
GRADE FAVORITES
oeaf.....
As
Twenty
.material
.
..
Popular and
all
.ilai
Oherunes
n Op.~ljmi
254 No
Bondolence
Op 29be N.
should.
presented.
4............. Chaz
teristic works, -an
hunting
songs, spinning
wheels,
fountains, lullabies and
DolsCrdeSng
p 10
o3........£leilr
serenades, are of the higheat value to young musicians, for
they appeal to both -the mechanical andasthetic side of
their nature.
The more varied the character of the study, the better
will he the general musical effect in each variety. Such
Is
plan followed in SECOND GRADE FAVORITES, so that
player is led from one improvement to another, while
conscious of being only entertained. As in FIRST. GRADE
all the numbers comprising this fine colFAVORITIES
ection have been thoroughly revised, both in fingering
thethe
Inspiriting
In the Mill, Op. 8i, No. Ii ..............
n' Wilm
jolly (A) Parting-Scherzo, Op. 45o, No.5S.= . Engelmann
rust One, Polka...
Blum
bark's (The) Song . . ...
...
Tsahaikoss-k)
Leisure Hours, Polka ... ..
.........
Geibel
ittle 'MistressWaltz....... .
...
Martel
Magic Cradle- Lullaby..:. . ......
.... Goerdeler
'Magic Mirror Dance..Goerdeler
Masqueraders (The),Polka,0pgo.
,
.
van Gael
MerryStories, Op. 295, No. 4. . . .
..
.
Fink
Morning Serenae ..
.
.....
Behr
o Lovely ight=-Serenade..eaumont
(The)}Man Plays.
.
.
. Allen
Queen of Day Schottische,
3. . . , Resglsesan
of Twilight Mazurka~O o, No. 4... Rmgelmansn
Organ
ueaeen
tmalmng (Thq)
0tP. 7MiNo.
Wheel, Op.,
-PRIG, 5
, No.
1;...
C'4S
..
...
RI
Via,
Da
. Xe
W~tch Dance. Op., 4, No. 2..........a
Marbh*!
Occasions
A magnificent congregation of marched of the
most inspiring and attractive character~selected
with
-the
greatest -care, and available fort all occa"
sions. They are of a character varying from- the'
bright, stirring" two-step "'or,quick march, to the.
Coon Club.."......
Hunting Song, Op. 77, No. 12.1,.
In the Garden-Menuet, Op. 39, No. 3." :.,m o-.Davies
In the Gondola, Op. 369, No. a
..
.Hennes
Little
Nigs--Plantation Dance.
.
..
Stahl
Little Night
One
To meet the meatal requirements of players in-this grads
that eompositions should possess a more
solid character. Not that they be less interesting or tune
ful, but having in them that something which demotes that
we haverisen
the primer stage, and are no longer
It is necessary
satisfied
Methods of teaching is the recognition of the great
value of. early four-hand playing.
This most excellent collection of 54 piano duetta
is designed for two players of equal ability,
CENTS
50
Edited and Fingered
FOR
hand
CONTENTS
Twenty -three Favorite Compositions
.
Hearty Welcome,
._ ..
0. *
*,,' .
Hers and His
....
In June D'ys .
.
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This book is a preservation facsimile produced for
the University of Illinois, Urbana-Champaign.
It is made in compliance with copyright law
and produced on acid-free archival
60# book weight paper
which meets the requirements of
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Preservation facsimile printing and binding
by
Northern Micrographics
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La Crosse, Wisconsin
2011