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BOOK
Study
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oCORE
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m./
A STANDARD TEXT-WORK
PREPARED BY THE EDITORIAL STAFF OF THE
^ationat^mbep-qf^^Jngiit-
Charles Dennee
Nicholas deVore
Thomas Tapper
W.
Moissaye Boguslawski
Felix Borowski
Alfred A. Butler
intermediate
DIVISION
[Grade One]
DIVISION
Book
Book 2
Book 3
Book 4
1
Edward
Collins
Howard
Clarke Davis
Lawrence Erb
Charles Haubiel
Hague Kinsey
George Kruger
J. J.
S.
Chittenden
Morton F. Mason
J. Baltzell
Bernard Boekelman
J.
Kate
EXECUTrVE EDITOR
[Grade Two]
Book 5
Book 6
Book 7
Book 8
Book
Book 2
Book 3
Book 4
I
Book 5
Book 6
Book 7
Book 8
juniorgraduate
SENIOR GRADUATE
DIVISION
DIVISION
[Grade Three]
Book
Book 2
Book 3
Book 4
1
Book
Book
Book
Book
6
7
Book
Book 2
Book 3
Book 4
I
Book
Book
Book
Book
Allen Spencer
Vernon Spencer
Adele Sutor
Donald M. Swarthout
Edith Sanford Tillotson
Edna
[Grade Four]
Alexander Pero
6
7
McClellan
Pearl VanVoorhis
Hunter Welsh
Guy
Bevier Williams
Mortimer Wilson
Francis L.
PUBLISHED BY
NEW YORK
York
Ulw
GRADE ONE
'
CONTENTS
o/
Book
Page
XXIV
XXV
XXVI
XXVII
__..__-_..
___.-_
____......
Embellishments
The Dominant Seventh Chord
Parallel Thirds
The Dominant Seventh Inversions
9
23
36
48
XXIV
.____-_______
Boy Who Became
Famous
.__^___._..
_______
The Greatest
XXV
Trying
XXVI An
of Pianists
to Force
Opera
Italian
Technic
Composer
of the
Three B's
.__.._
....____
Morning Song
Page
Page
Gurlitt
12
The Place
Gurlitt
26
Mortson
43
Happy Go Lucky
Love
Mendelssohn
60
dementi
Behr
.
61
(four-hand piece)
61,
INDEX OF COMPOSITIONS
[References In parentheses are to chapter and page in complete work; Grade
i,
if
Alphabetically by Composers
Alphabetically by Titles
Page
Page
A
Aeolian Harp
Bertini
by Beethoven
Andante, Op. 36, No. 4
At the Tea Dance
Paisiello
Air, Arr.
(xxvii-7)
53
(xxvii-17)
58
Ci.ementi
Kohler
61
(xxiv-5)
piece)..
(xxv-14)
28
(2-xxiv-8)
28
(xxv-8)
27
18
Happy Go Lucky
B
Franchescot
Gurlitt
By
Chromatic Study
Country Dance
Spindler
Pauer
(xxiv-8)
16
(xxvii-15)
52
(xxvi-ii)
38
(xxvii-14)
57
Bertini,
Henri Jerome
(four-hand piece)
63
(Bare-tee-nee)
Aeolian Harp
(xxvii-7)
Clementi, Muzio
Andante, Op.
Ehmant, a.
36,
53
61
No. 4
(Ay-viant)
Swing Song..
(xxvM-12)
60
(x.\iv-8)
16
(xxvii-is)
52
26
(xxvii-13)
56
(xxx-12)
11
D
Dream, A, Op.
107,
No.
Reinecke
21
(xxvi-io)
Franchescot
44
(Fran-chess-ko)
Gurlitt, Cornelius
Echo, The
Reinecke
107,
83,
(xxv-io)
No. S.Gurlitt
No. 27
Reinecke
(xxvi-14)
(Goor-lit)
32
By
26
No. 8
Hardy Horseman, The, Op. 117, No. 32
Hunting Song, Op. 82, No. 42
45
83,
I-
Morning Song
Festal Song,
LeCouppey
(xxv-13)
35
Academy of Music
(xxiv-io)
19
INDEX of
COMPOSITIONS
UNIVERSITY
COURSE
Alphabetically by Composers
Alphabetically by Titles
Page
Page
Ga votte
Lanciani
(xxvii-i8)
59
H
Hardy Horseman, The, Op.
No. 32
Hunting Song, Op.
82,
117,
GURLITT
GuRLiTT
No. 42
(xxvii-13)
S6
(xxx-12)
II
Rocking
(xxv-7)
.(xxiv-5)
18
(xxvi-8)
40
(xxvii-i8)
59
(xxv-13)
35
(xxvi-9)
39
(xxiv-6)
14
Gavotte
I
In Solitude
In the Highlands
Schubert
(xxvi-6)
40
Mortson
Wilson
(xxvi-7)
41
(xxiv-ll)
13
LeCouppey, Felix
{Le-coop'-pay)
Festal Song,
Lichner, Heinrich
Melody
J
Jig,
Mortson
(xxv-12)
25
Mello, A.
Sandman
So Early? The
Mendelssohn
LiCHNER
Gurlitt
Melody
Morning Song
(xxvi-9)
39
Place
Love, The
60
12
Mortson, R.
In Solitude
N
Mortson
(xxvii-6)
S3
Mendelssohn
Mortson
The
Prayer
60
major
Finally Agree
Handel
Beethoven
(xxv-7)
31
(2-xxiv-8)
28
So Early? The
Mello
Moller
Serenade
Sonatina,
(xxvi-6)
14
(xxvi-4)
42
(3-X-11)
30
(xxvi-4)
Song of Hope
(xxvi-3)
42
42
(xxvii-17)
58
(xxvii-14)
57
(xxvi-2)
37
(xxvi-io)
(xxvi-io)
44
32
(xxvi-14)
45
(xxvi-6)
40
(xxvi-ii)
3S
(xxv-9)
34
(xxv-6)
29
27
(xxv-9)
(xxvi-3)
34
42
(xxvi-8)
40
Echo,
(xxvii-i6)
54
(xxvi-12)
37
(xxiv-io)
19
(xxvii-12)
60
Schubert, Franz
I Heard a Brooklet
55
Song,
Stamaty
(xxv-6)
29
Violoncello,
Soldiers'
Four-Hand Pieces
Gavotte, Op. 43, No. 13
Happy Go Lucky
Romance, Op.
43,
No. 9
No. 27
Murmur
Stamaty, C. {Sta-mah'-tee)
The
107,
Tschaikowsky,
March
21
The
Chromatic Study
(xxvii-9)
V
Violoncello,
{Py-see-el'-lo)
Spindler, Fritz
Mortson
Finally Agree
55
'
(xxv-8)
T
They
54
(xxvii-9)
Serenade
Paisiello
53
(xxvii-l6)
43
Sandman
25
43
MiJLLER, A. E.
41
(xxvii-6)
Study
They
R
Rocking
;
Romance, from Sonatina,
(xxvi-7)
(xxv-12)
Prayer
P
Place I Love,
{Chy-koj'-sky)
March, Op.
39,
No.
(3-x-ii)
(xxvi-12)
46
(xxiv-ii)
13
.(xxiv-12)
20
Wilson, M.
Wilson
Behr
(xxvi-12)
.Wilson
Beethoven
P.
The
63
(xxiv-12)
20
March
(xxv-14)
28
46
hand
11
(four-
PREFATORY COMMENT
Examiple No. 8
In this Student's Abridged Edition of The University Course of Music Study, Piano Series,
there
is
etudes,
contained
all
and pieces
of
in the
the essential
exercises,
in
number of supplemental
compositions, which can be drawn on at will to
addition a considerable
[Example No.
Example No.
Example No. 3
average amount of time to practice, but thoroughness and a natural development are at all times to
be preferred to a superficial development, however
rapidly the student may seem to progress.
It is recommended that each pupil shall have a
Example No.
Example No. 10
Where no such
work which
With such
show
all
unfinished
and teacher at
in a systematic
At
a section
Example No.
[Illustration
Example No.
Illustration
No.
4]
No. 4
new
is
found
it
for
the
does not
lative
SAME edition
(i-vii,
Ex.
Example No.
it is
reference
of the
in this
for this
10
is
Technic.
is
Manual
in the Teachers'
grade.
3I
(2-xii,
section
5)
6)
is
as follows:
means Grade
i.
Chapter 7 and
6.
indicates
Grade
2,
Chapter 12 and
5.
(1-2, p. 36) is
of
Grade
I,
The review
of earlier
work
is
always productive
is
work.
application
complete work.
Example No.
[Exercise
No.
3]
and treatment.
CHAPTER TWENTY-FOUR
INTRODUCTORY DIVISION
TWO-MINUTE STORIES
FROM MUSIC HISTORY
If
asked to
who
name
is
be
known,
"Franz
will
come without hesitation:
Few, indeed, are the persons who have not heard
the famous Hungarian Rhapsodies played by band, orches-
answer
the
Liszt."
tra, player-piano,
or phonograph.
At one
third year, he was given up as dead and his coffin orThis physical weakness continued up to his sixth
dered.
year.
In his manhood he had abundant physical vigor,
It
figure.
was then
It
On
one occasion
he was asked what he wanted to become when he grew
In reply he pointed to a portrait of Beethoven who
up.
was always his musical idol, in the music room, saying:
'Such as he!'"
repeatedly asked to be taught to play."
The
little
Next we
find
know the
wrote who had
dents
him
at
latter
still
alive,
he gave a concert. He had never been able to see Beethoven who did not want to be bothered by a so-called
prodigy; but through the persuasion of Czerny, backed
by other mutual friends, the Master consented to attend.
Imagine the joy of the young musician when he entered the hall and stepped to the piano to see Beethoven
sitting near with eyes fixed upon him.
The boy played
superbly a concerto by Hummel.
Then a theme was
handed to him on which he was expected to improvise.
(Czerny had asked Beethoven to make out a theme, but
the composer neglected the matter. )
The reception at the
end of the concert was overwhelming. And to cap the
climax Beethoven mounted the platform, went up to
the boy, and kissed him several times.
is
made
system of
Czerny, in whose studies many young players can arouse
no interest.
Our next view of him is at Weimar, in Germany,
which was his home for a number of years, whither pupils
from -Europe and America came in great numbers to
profit by his instruction, comparatively few, only the
most talented, being accepted. Sometimes he would dismiss a room full of pupils, saying that he did not feel in
the mood to give lessons. At other times he would hear
several play,
each one present had prepared for a call.
Here is a pen picture of a lesson: As the player performs Liszt walks up and down the room muttering to
himself, smoking all the time.
Suddenly he pauses to
listen intently to a passage which does not satisfy him;
going to the piano he bends over the player and delivers
the phrase as it ought to be. Other corrections are made
strict, classical
in the
same way.
At
from beginning to end. At another time, without comment, he will call another pupil to play. He rarely troubles himself to give advice concerning the technical portion of a performance. What he looks for and endeavors
to inspire is the general effect of a rendering.
Liszt died at Bayreuth, Germany, August i, 1886.
CHAPTER TWENTY-FIVE
INTRODUCTORY DIVISION
Robert Schumann
TWO-MINUTE STORIES
FROM MUSIC HISTORY
SCHUMANN
IN
BIRTHPLACE
ZWICKAU
piano.
We are
In
self
In this there
who
is
is
young player
No
from
doubt
all
his delightful
INTRODUCTORY DIVISION
CHAPTER TWENTY-SIX
TWO-MINUTE STORIES
PROM MUSIC HISTORY
Giuseppe Verdi
VERDI S BIRTHPLACE,
RONCOLE, NEAR BUSSETO.
boy.
Undoubtedly
talent, for
belfry.
all
with
his music.
in
When
the
lit-
playing scales and searching out for himself combinations of pleasing harmonies.
It is related that he was
overwhelmed with joy when he discovered the chord of
C major. But the next day, on finding that he could not
get the chord again, he became so angry that he seized a
hammer and set to work to pound the instrument to
pieces, only the timely appearance of the father preventing total destruction.
The
and productions.
CHAPTER TWENTY-SEVEN
INTRODUCTORY DIVISION
Johannes Brahms
t^J^/J^fi^l^
BRAHMS AT TWENTY
FROM A DRAWING BY J. B. LA WRENS.
is
Brahms.
Von
The boy's interest was wholly in the piano, an instrument which the father did not favor. His idea was that
the boy should learn to play several instruments and in
But when little
due time follow his own calling.
Hannes was seven years old it was decided that he should
study piano with a very competent teacher named Cossel.
If the latter could have foreseen, on the day when the
elder Brahms brought to him "a pale, delicate-looking
child with fair complexion, blue eyes and a mane of flaxen
hair falling to his shoulders," how proud he would have
been of the charge he accepted
Yet there is proof that
he soon became aware of the unusual musical endowment
of his pupil, for he gave him much attention, drilling him
in the etudes of Czerny, Cramer and Clementi, and the
music of the great classical masters, as well as some num!
bers in the flowery style then popular, thus laying foundation for the characteristics displayed in later years.
When
who was
The
B'S
Schumann.
The
acquaintance with Schumann resulted in an opporBrahms to play some of his compositions before the Schumanns, and the appearance of an article in
Schumann's musical magazine, in which he hailed Brahms
as a master, anJ one of the elect.
One of his few pupils, Florence May, thus describes
him in middle age: "Below middle height, his figure is
somewhat square and solidly built. He is of the blonde
type of German, with fair, straight hair which he wears
rather long and brushed back from the temples.
His
tunity for
with
its
INTRODUCTORY
CHAPTER XXIV
UNIVERSITY
COURSE
XXIV
EMBELLISHMENTS
GRACE NOTES THE TURN
A Grace
note
an ornament which represents a tone that is of either less, or more, rhythmic importance than the tone which follows it,
and to which it is joined. As seen in Exarnple
No. I the Grace note is written as a smaller
1.
is
1.
2.
Example No.
[Illustration
No.
C Db C B C
A
Grace Note
C Db C Bb C
A
i]
3.
4.
Example No.
Embellishments
[Illustration
appoggiatura, which
they are
C D C Bb C
A
half-step
C D C B C
A
half-step
The Turn
No.
3]
The Inverted
The Turn
Turn
eve
-or
**-
^P
i
notation performance notation
4. On
performance
Turns, only.
The Turn
3. The most common embellishment is the
Turn, a group of notes formed by using the
upper leaning tone or appoggiatura in conjunction with the written note, then followed by the
lower leaning tone and ending with a repetition
of the written note. Such "leaning" tones may
be called auxiliary or helping tones.
for the abbreviation of a
like
is
The
of the notes
is
be inverted, and
like the letter
1.
ornamented.
to be
If the order
sign
is
"S"
laid
on
set
is
Example No.
in
Example No.
[Illustration
Model Turns
No.
3.
as in
Inveited
[ 5]
3
4]
sign
a curved line
No
Turn
these.
Example No.
Turns, shown
II
-jjj- ii-j-|jjj-i
i
said to
on end, or is reversed,
back as in Example
its
[ 2]
III
'i
-jijjijg
The Acciaccatura
5. Where a Grace note is to be played almost
simultaneously with the ornamented note, and
Example No.
[Exercise No.
143434
82
i]
II
-6
3
3
IV
III
m
t
VI
rS-
/^Ajl'- hJiW-'lt^J^-hm^i
i^ i ^ ^tt'^
IX
VIII
VII
XI
m
XII
Example No.
{Exercise No.
XV
XIV
XIII
XVI
^
*^
I**
^M
::
Acciaccatura
2]
Smbfrj^
^mr
(vR
J=
,rJiV
>'lt
Example No.
C Minor
'^m ^
fe
F Minor
^^Mk^-^'
1^
l..,3_H4_l-*-i^
Tty
5
of equal
staccato,
effect is
accompaniment that
Morning Song,
7. This
number
is
slightly subordinated.
Gurlitt
to sound.
Hunting Song,
Gurlitt
and
10,
three
ures
if
lowing note.
in
10
']
Mello
Sunshiny Morning,
which follows.
This
interpretation of the embellishment as an acciaccatura is possible because of the moderate
tempo of the piece. The repeated chords in the
middle part must be kept light, without the
slightest approach to "pounding."
Keep the fingers against the keys, and produce the sound by
pressure, each chord separated from the next. 7]
into
the
note,
principal
The
12.
in halj
is
Gurlitt
by a
Compare
to make
the
it
Franchescot
sixteenth.
full
better
follow
to
the
characteristics
of oriental
11. Keep in mind the different effects of changing steps in a people's plain dance, the type to
which
Attention
iTiinuet.
13.
general style
belongs.
The opening double notes,
note value, are not melodic but rhythmic,
this
full
melody.
[ 12]
HUNTING SONG
GURLITT
^S
Con moto
-'s
'mm
IT^lf^
6=1
4
11
f
1
V
V
';-
F=F=^
p
'
y
i^^^
ii =2i
-z.t
11
i SE
=t
'
l.k.
^m s *
^^irp~7
h^^
:^
mi ^
sa^S
mz
mA
Op.S2,No.42
^m
=g^^^
*=3=t
g
.S
MORNING SONG
GURLITT
C.
Andantino
2
^
1
5?
4 3
5
2
*F
3
^Efe
r^?
ii
13
^
i f=l^
n^ r
*^-
)^
p^
///
f^^ff
^^*i
lEEat
W=iTW
^^^
P=n^?
r
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<^
1*
'poco rit.
J3a tempo
^f^
4^
m
*
1|
P'
ir
1,
1^
^^
#^
I*
^^^
-s
1* r
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rail.
5^^
12
IN THE HIGHLANDS
MTORTIMER WILSON
Op. 40, No. 12
Andante moderate
S
mp
i i=p
"^
ie ritmato
:U;
P^
|4
^^
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; -
^m
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poco
&
f^a=^
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s
13
rit.
Moderato
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a tempo
i^
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14
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a tempo
J^XUltB
simile
34313
f
43
^3! iiiii
13
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a
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3,
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mf
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con seviplicita
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8
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di polka
12
3 2
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C.
al Fine
SUNSHINY MORNING
GURLITT
Allegretto
Vi
1?
r-^
fc^ ^
f^^
t
^^
^
^oco ritard
3 t^N^
it
^ ^^
/"
i?i?
-~^.
^m
V
1
^^
^ ^=1=^
^^
i'v
i^
:t3=i
mf a tempo
MARCH OF THE TURKS
MORTIMER WILSON
PUPIL
5E
te
^^
jry^
PftTW
4
z^/'
11
mf
tiPP=
g
TEACHER
Moderate assai
<
til
i
I
M 1^
4
pmf
mf
> 1:
i>
e^^
r
V
^^ i
a
s
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mf
^^
^^
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^i
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P mf
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INTRODUCTORY
CHAPTER XXV
UNIVERSITY
COURSE
XXV
THE DOMINANT SEVENTH CHORD
1. Triads have
been
explained
as
chords of
The "seven
are called Seventh chords.
sevens" are shown in Example No. i. AH Seventh
chords are written upon four adjacent lines or
They
Example No
No. 3.
As the upper three tones of the Dominant
Seventh form a diminished triad, the Dominant
Seventh has the same tendency to resolve upon
the Tonic as has been observed in the case of the
A C E G
CE G B
E G B D
3.
I.
2.
^.
diminished triad.
GB D F
B D F A
D F A C
3.
6.
F A C E
is
Example No.
it
results
mwww^
Example No.
[Exercise No.
1.
^1
in
Example No.
Dominant Sevenths
[Exercise No. 2]
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for
"^
1
4 a
6.
in
Chromatic Succession
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Twenty-Four Changes
[ 7]
it
known
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shown
Such a chord
Dominant
strengthening
the weaker fingers.
Play also with the fingers
Repeat with the rhythmic' grouping
S-
7-
Practise the
Example No. 4.
Practise Example No.
tions as in
'~
of Seventh
1__3_4
Chord Fingering
;
Dominant Resolutions
Example No. 4
[Example No.
2]
l|i^|2L^==
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12
11
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Or
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4.
the
The
movement
is
lively,
particularly
in
right
Sonatina, Beethoven
5. The two-note figure
10]
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in
accent.
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8.
Spindler
is
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imitation
[ 5]
Rocking Handel
6. With a few exceptions, the second note of each
of the Doublets, in Rocking, is the same as the
first note of the following pair, which also is
'f
shortening on the
slurred
Doublet,
using a
each
note
of
second
The Romance is really the
semi-staccato touch.
second movement of the Sonatina in G major, following the Moderato which precedes it in this
chapter. The Grace notes in this piece take their
time from the preceding note; they receive no
and elsewhere
,,
Violoncello, Stamaty
The Echo,
Reinecke
9. Between the delivery of the various tune
fragments and their corresponding echoes, there
24
soft,
Romance,
11. In a Romance the lyric element is prominent; therefore in its interpretation one must
as if there
[ 11]
clauses in a dialogue.
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INTRODUCTORY
CHAPTER XXVI
UNIVERSITY
COURSE
XXVI
PARALLEL THIRDS
NORMAL AND EXTENDED HAND POSITIONS
IN
1.
The
interval
fingerings:
of
the
in
first
m FF
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[Exercise No.
5 ^
2.
A Dream
Example No.
53-42, 42-31,
Practise
Thirds adds facility and smoothness.
as in Example No. 4, ascending and descending;
also with the reverse order of fingers shown with
the
son),
-3
and 4
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stafF-degrees.
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Preparation for " Chromatic Study
Chromatic Study,
4. In
appear
in
in
appears
Spindler
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in the left
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When
hand
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STUDY
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47
INTRODUCTORY
CHAPTER XXVII
UNIVERSITY
COURSE
XXVII
1. The Dominant Seventh chords can be inverted the same as triads, but as there are four
tones in a Seventh chord, there are also four positions, in which each of the four tones in turn are
These four positions are
placed in the Bass.
the fundamental or Root position, and three Inversions, as
shown
in
Example No.
Example No.
Seventh Inversions
chords as
"seventh" chord
Root Position:
G - B - D -
form
123.4567
B - D -
"six-four-three" or
"four-three" chord
D -
G - B
12^456
[Exercise No.
on
this
Example No.
No.
Notation of Sevenths
?)
Seventh Six-five
chords
chords
B - C
G
123456
Example No.
in three
[Illustration
"six-four-two" or
"four-two" chord
Third Inversion:
Dominant Sevent h
Example No. 3. Also in broken
speeds, as in Example No. 4.
[ 6]
2. Arpa is the Italian name for the instrument which we call the harp. In playing chords
F G
123456
Second Inversion:
in
Arpeggiated Chords
"six-five" chord
First Inversion:
1.
li
Four-three Four-two
chords
ll
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chord
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tones
the
[Illustration
are to be played one after the other, while holding down the keys for the remainder of the timevalue of the notes, or by sustaining them by the
No.
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PHILIPP
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[Illustration
No.
Rhythmic Variant
RIGHT HAND
5*133
Example No.
[Exercise No. 6]
r.h.
13 12 ^a^2
=
1 14^2
l.h.
^2^3,24
4 TtilizJS
Z
13
4
a
2^
2
2^3124
5
5
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r
1*?H.
2 4
^213,
14
5
535
1
1
'5
4.
4
25 3^24
14
52531
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1?^4
5354 2
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5 3
r r r r
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frrr^J
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14 13 ^
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53
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4541,3.
I.
[Exercise No. 4]
:^
^P
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y=F
3. For the expansion of the hand to a Third between the first and 'second, and the second and
3-
m ^^
l.h.
HE
Arpeggiated Chords
5
4]
i15
L^^r
13 542
14,14
" .
n.
l4l352-#-
Example No.
PEDAL STUDY:
[Exercise No. 7l
5
5
-G-
4
J
^^
21
5
-J
l_
G-
5
_J
?r
rzL
5Z=
G-
on "one
LEFT HAND
it
L.
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J L
L.
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-G-
J L
J L
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:!2=
a
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4
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Adagio
3E
\A^
^^
:s
:s;
^^
?;
iE
when
times
known
Damper
F#
By the Spring,
Gurlitt
is
played.
This
is
some[
17]
Mortson
7. The arpeggiating of the chords in Nero
Strokes His Lyre serve to give emphasis to the
contrasting short legato theme of four tones which
The upper
occurs twice in the left-hand part.
tones of the chords in the next measure in each
case echo the last two tones of this theme. When
the waved line is on the upper staff only, the chord
tones in
the right
hand are
to
be arpeggiated.
50
Example No.
r.h.
iO
Ftt
Gl,
Dt
Al.
Et
Bl>
l.h.
5
(1)
(4)
51
BY THE SPRING
PEDAL STUDY
CORNELIUS GURLITT
Moderate quasi
2
5,
^m.
^
li.
w
p
s
_1
m j^
dim.
5,
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K
6
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s ^ir-f5E
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5
Eeseeej
1
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i ^
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^
^ w IP ^^ W P ^ ^
J
mf-
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m
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L.
^^^^
ii
^^
tranquillo
1_
Jn-u- fT2
rTT2
5
allegretto
3_5
i
i
5E
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5
2
1
3:
perdendoid
^
I
52
AEOLIAN HARP
543
Lento religiose
^
^^ w mP
4-*
^hih^
4|;
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m 1-^ Ifeti
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t*
BEETIXI
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i
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II
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iii
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111
345
-II
II
I
IL
-U
IL
If
in
Arpeg-g-iated chords
p.
Moderate
* H=?
^3
^
^
'i
IL
L-
!fe
-J
ii_
JU
ll_
i piS
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5:
14
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f=^
t F^
t^
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te:
-II
i
F
^i
MORTSON
ie
J
LYRE
HIS
P ^
t
Ie
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liiJ
^ y=f^
II
Jl
lU
53
1_
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L.
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Ii-
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I iJ^ i
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ji
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^
a
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II-
-o-
:<*
feNf-^
II
las
II
m^
NERO STROKES
-J
ii
STUDY
MORTSON
8. The practice of Double Sixths has the same
advantages to a student with a small hand that
octave playing has for the normal adult. In each
provided for
in this study.
Allegretto
IjUU ^
t^ ^
P
'^
y (
wczM
.fyj
f
^
^
^3=^
1
^'
^^
i E
N=rHt
leggier
^^^
am
M*m m m
^^
'f
cresc.
'f
i|t
^
mf
r f r
f: ft
1
-^
fL
54
The
left-hand figure
preceding.
19]
com-
Gavotte, Lanciani
may
must be played
Air, Paisiello
12. The left-hand accompaniment is subdued,
and the right-hand part, especially in the Sixths
and Thirds, is to be played smoothly and in a
distinctly legato style.
The Grace notes take
their time value from the notes immediately
[8]
parts
fe
,^ 1^
^^^0
mf
MORTSON
-5_,^
U^
1
'^
-^
GURLITT
Op.
117,
No. 32
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k
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42-
s=fc
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SF
P^'TO
l[r C;
fe U
33^
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^ ^^
COUNTRY DANCE
PAUEE
Vivace
J siirdle
'y
^-
[_ r
Lj
^
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57
'ki'l
^~~]
AIR
PAISIELLO
BEETHOFEN
Arr. by
Allegretto
wm m
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GAVOTTE
PIETRO LANCIANI
Allegro moderato
dh i
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59
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62
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HAPPY GO LUCKY
PUPIL
FRANZ BEHR
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