MASTERING THE SCALES AND AKPEGGIOS James FRANcIS CooKEMASTERING THE SCALES AND ARPEGGIOS Ts Pye of dt ot ka Ci ed fc tars Dab Eb ow FC Bh 4 ab ahh Dh A eb ie EG mtb tok we Lm Fin ek We la obvious that ne sharps when the sue sound could be rept fin.tnd mie worse beens weal amploy te arale of tm Fat when Gra majoreriat.te the mame sounn ould be epesented in Ov shape ee ‘Wig. hens do we caider tin connection 1 all? Because’ t = serisin inst epton shih tae ihelt sumea from some cf sles und la ordor tee ibn convertion tn se bey er ar Sra bela ects bee eet as Zp minor are need, wherens the taJor scales af © harp mejor tad D sheep mar arepactinliy meet ere megan anette Disrerext FoRMs oF THe Mixox SCALE re seserally recugnized varieties of the mi ‘scale, although it would be post make even more by employ - Ing other inte Expressing them without thele customary aigmatvre they may be represented as fallow Ditetmaer tata Dat major Fat ete Goes Artagor a An gatas =f = An ee major fate, et. ges GEE C mixon (NoRWAL om NATURAL FORDE) ‘nnd descends in the tame cede will be the third.stx0h and seventh step ‘both in gang up and In eoming dows. C tvon (Harwoxtc FoR) ‘and descends in the sume olng up and in coming down C ior (Mzvovic Forx, SOMETIMES CALLED THE ARBITRARY FORM) ‘Te wlll he noticed that En ascending. only the third ln played fla, but in descending the third owing irregul many planotarte wwrliers have employed this form of the anlnor seals exclesively LERSON It (Caix0R (MixeD FoRM) LEARNING THE MINOR SCALE NOTES AND MINOR SCALE NAMES ‘The miner scales, whieh seem to gh ach a vast mount of trouble8 sony given aniver kay the pupil will have vezy litte trouble fo master: ng the eneledie and tized form end brscendi Te mabe Normal miner Play §-8,2fiat: Play bf flat Te make Haraenie miner Play 8,4° fla; Play 8. flat To mate Melodie minor Piey 8 fat: Play 8, 8,7 Mat ‘To make Mixed minor Flay 8 flats Playa, 6 flat Retavive Minox ano Retamive Mayon Every minor key be related to two major keys. "These relat onabipe ‘fen cause much unaeceesury confuslon-Thay are really vy tmpie, a called by the Latin aume Pamie. ur of major @ major isthe tm je major of O minorvets.ete.7he nipeature.ay the foasc miner and the an three Plate; G major has ane aarp Ue Une Ag ‘A minor has no sharp Ue the ralative iinet of C mabjor, Te Uhakrste s+ three flais In the wignsiure, Elst major ie raajor of € miner, Tacigetally. may be saidthat auch ofthe aificaty in unéertinding the ‘ames simple when we remember that 7Ae stpuature the anor seale ia om the IR igaatare of C mlner in of the seals commencing os ise third degree, flat. The signature of D minor inane flat, the same ax that the major aeale commencing on It third degree, F. ‘As we have seen, the seal ehanger in the different forms (Normal, Harméate, Melodie, Mixed, ote) This confuses the beglaner Sry freal- ly-Helearns.for instaace,thai the ecale of © minor haa three flats in the signature, but wheo be actually comes to play the ecalee, be playe se form, euly te fteda(B fat nad & Fla) ‘me is obliged to remember thatthe sgoatore af the KuvBoamp WoRK Iv CONSTRUCTING THE MINOR SCALES ‘Start with the Normal minor farm cals markers ated In LEGGON | ia the llowing miner 1 the markers In mgs order over ih major scale. Let us nay E major four sharpe'. Tu order make E roinor (Normal form) move the markers it # and ‘710 the very next plano keys tothe lets whe or ach. This will ive you the folowing ‘Mote thatthe marker 3 Is now upon the kes @, We remember that @ ‘major bas one sharp inthe sigoature,consequeutly minor haw one becwirdtinyaciamaninrc ye bata riearunin yma iste SLC Note here that two sharps remain fram four sharps theeriginal key sf & major. In actual mastethis wauld be expressed thus withthe rea ‘lar sharp inthe signature andthe eximabarpexpressed asan accent. ter employ su few avoldental possible. The third ef the scale of D flat major, for Ina I we flat the third, we have,according: to the abave iF fiat with n Imposuible signature. Now F flat is nothing other ‘major bas four sharps or this res sever use the Sf CBharp salnor, which tn thin ly four sharpe. For the 2 with aeven flats. mhurp mlnorealla for abr charpaln the signature. Phase, ib commencing on the same plans ey, but axpreased by different printed uotew are called eukarnonte ‘and may bs used interchangeably. Whitic EXERCISES Ly MINOR SCALES ely weit ut will do much to fx vals ot the top of each page. ‘24 "In the Harmonic minor aesle, one of these sharps or flats chat iat will rotbea part of the signe: ture, In the Melodie and Mixc we seeldentals will Be oepged Sd When all the necessary serps and fats have been Inverted ‘before the notes to make the proper step formation ar inter - vale, the student whould determine which sharpe or fate ge then write {a the signature in te proper {In order that the pupil evay understand these supgesUooa.ue give ‘af C Melodic minar worked out in the manner IndicatedMezomic MinoxTonatirr (Two-Fincex) Exercises ix TH HaRwowic Minox Scaur ‘Daminor tft ‘Dminor 1 fins, Bai = (Cabarp miner 4p, ete ulnor dsbarph Sniper Seber Oabarp miner Asharpe,ste fea SS 2 sremeereatneee ae gel ere ie LESSON Iv FINGERING OF THE SCALES Plogering the seals becames quite cimgle matter when one haa leet understanding of a tow are used tipon voy clans petnatple The fingering ofthe ecules fillows the repetition of the flagers is weed Sagy29412312941 The fink finger is not vse eswhore tray be used I The above orier ofthe fingers is charged only in special cases whe sm to seman it.The pop ahould in all ca fingering first and the exception 1, With fom nednnnary sxeaptiona, the Harmonie minerealen sre ‘ogered Kieth major sealon ofthe meme nami miner like C maj miner like @ major. This forme avery quick means of getting an sxcellent neneral idem of the plan far fingsring the Harmonic minor seals ‘Tha fngerlag of ths ele minor seal Deng different in ascanding and dence an tha and finger oft wenle more regular often Th ln alvays better Tee seals in which the fing i th fiom the mafor seas ofthe tame same ates Right Hand in Psharp miner difere foes Faberp major. Aight Hand in € sharp minor dirs fram sharper D iat) majo. [et Hand in & Mat minor ders trom fiat major [Left Hex B fla inordtfrs fem Bat major lace there aes four excepllonn Wie erdent that Sis a goat cooamy af ine to lnar the general garing ralen fn book major fad minor fr and thea master he exceptions LThefharh Mager may be ealedtbemanitr of i scales Tt com aly coeets an ute andi we Kame where the forts ingen we {mumdisity have the motss whereby ve may anceriain the Postion af ailthe that fingers Consequentifall we hoe to Know about the fSagarng of ey gen wclels where the fourth lager gees The fl- lowing rulen are based pon the shove prinelplen a gw the palin of the fourth ger eal can. 1 Alleberpsoulen with no more thes for sharp incinding t Clad miner neaos apoio wt ha nme eae). RUGIFE HAND: Fourth finger onthe PU nop or ogres LETH) ee ‘AL scales employing five Bec po Bey and nino ones bigs onthe ame pane Ae Racer man, Yourth ager on op of group ef thre back keys LEFT HAND: Fourth Enger on Battom of erp a thre bck He aeons nstrmanie miner Mgt hendin Pohary ard 6 4p. TH Spiel fingers or Mans sess are glob dirty tr sonndatlon wth {he eal Remarlos) 4 Atl major eaten wth no more than feu ta (and miner selon de, ‘inning wilh the name pin dey Rulon Hann Ponts Oager on fas LEFT HAND-Poarth finger on the fourth stepordeges cf scale ox+ cept in the seule of Fwhare ls on the second us tn Chet (Rreeptonntn Rarmnie miner: Egfhend is Bla! minar and nt minor ee apc fingering fron roa inven relly cennaction ‘desea itarive) Thos maybe rade closer by lage DIVISION 1nTo CLASSES om cRoUPS OUP 1 ‘GROUP It ‘GROUP Sealeawithno Seales with 6 back mmereiben fur plane keys. SEaepe tanner BPH, orGW)Db, AS EB, enim af the Base cuhtingero2 Fines 4h finger on Littepetgropet RIL BM Gheothhek planobgs Ll ath f sale St Chvcopt tcl? Fovior and P at ‘nina bers its plata on iar HEA pangs Sveum atop ato rou Dh (Orman Fixceeincs: Allessen of ouplional fisgert are go in brsshate ovr the lar fin. est and Tessie were ofthe olson that ll the scales might bo mf fn- ‘gered the nome aa the soaks of Cmajer This is not desirable for beginnart bePART I a PRACTICAL TECHNICAL WORK Genera Dieecrtoxs ork po the echinie of seale playlag, 4 ive the matter of touch "The falloington gums rl cor suurestions are those must commenly employed tethers and muy bbe vad and ee-read with profit ‘This hank belo Tew SuccEsTIONS Fox SCALE PLAYING 1 The Wrist shold fall times be freethatnabnataely ascontesined fro any Kn of muscslar tension. ‘2 Thefngurs should le held curved according tothe wprvved meth '8 The knekle joints should not be permitzed ta “breuk in when the ayn are struck, 4 The forearm should be held quletthat shou H nt bo permitted Tomiahe esappersted mations up 15 The action af the flnpers should be Independent, 1 The outede (hte: fewer site) ofthe Rand should Ue held 1 trifle ‘higher thaa the thumb wide Tht ivhem playing eeutes the bach of ‘the hand is wot ald exactly parale] tothe pba bul at alight slat This greatly tallies puting ander the thusb and cresting. the fingers Ieeding to emeoth scale 7 In passing the thumb under the third, or the fourth finger, the ‘hum hould We prepared in advise. Rorlatianee, iia wecoodlg ‘sev. soale af C.the thusth is curried gently but dat ly cadertia secand ‘Anger at the wiamnt the exsond flgor-trites bottam! although the thar te nat eotaelly played antl alter the third Finger i= struck 8 Inerossing the fingers or sf the hand sould not be a nga te wrt 2. The morwant nétels ruck fang unter the thumb the posit jared hy uny jerky mation ar any os ended to play the next ily stip Into position Pager teole should immediately. accurately and e bare that nate- 10 Al tons shouldbe repli ree een i alow move ‘Aa eceltent elementary drill in patting und the tha sate Ing over the fers 1 te fos fast foul leached Kallbresnee, this, the {it Finger is gently suctalned while theater Bangers play. SPECIAL PREPARATOMY EXEKCisES Fou Teainixe Tue Tuas 12 Pass Ravipiy Usper Tre Taiko AND THE FourTE FIxGuRs ‘These axareinen are modled aftr thoas amploped [a Lanchataays so called metheds a» expounded by his pesparsiary twachars ade they may bs rar forms in technical works published at ‘rious timer ductng the lust one hundred year ‘The following present In systamatie form, practieally ail of the fourth tlagers.No farther bapa tealaing other then the eeales them- selves is roally necessary ix this direction ‘These exercises ebould be played with ws little muscular constraint us pombe AWOVE, ALL THINGS AVOID STRAIN, ESPECIALLY IN THE semua! potions wbith ue themb porte der te hed ond tie | CASEUP-YOUNG AND CRDEVELOPED HANDS. Eevrfss waplylag wit plane lays exeunlrsly : A A 1 i ea vert at fr ftni Gega deat bets fps gtd ten dea i Exereieot caphying thras black gia at net fan sia $02 Tar Scaues 1x Oxe Octave Fone ‘es followkag shows All ths Aetlek incom ecteve form arranged in yn scetedng tothe Fingriog rules previo ly ent degrees ot steps ofthe seale, breaunethe prinetpal chords wou wake take thelr names from these mzps. The first sep of any or chromatic, is called the Tonic. It mas tonlc. The word Duasonie,so frequently employe simply mes ‘ove tonte through ta the Bent nie. This term i epplied to Uhe ra land hiner seales,bat nt te the chromate acale, ‘The names given tothe different steps of any major er minor ecale Firstatep, TONIC Second step, Seper-tonie Third sip. Mediant Peosth step, SUR-DOMINA NT Fitth step, DOMINANT Biath-siep. Bub- medians Seventh step, Lending “tone (The eumes most frequently heard are in expitaln) Cuoros ‘The chorda employed asthe end of exch acnle form & succession Sinown me a cadence. This usen he thoes prinetpal eberd of the key These chords ure known v8 Teale ChondMadn up Bu eteyteuneermnse i 2 Get ooo Se ia. Biairaie SCALE EXERCISES In the following. no attempt should be made to attain speed or great | finiah. The scales are prevented firat-La this form in order the student may Inepect the Fingering [a x leisurely manner ard reflect upon it Set the metronome at OO and eount an boat to eas quarter Bate, First Chass idee all major seulew with no more thas four sharps land all mincr weal of the #ame name ©, d,0 solnary Hight hend: Posrth fing Heft Aand: Fourth fag Ioeportant Hesica.Emny wos the highest note oft ‘mast convenient ger. Fo the thie naturally Yalta pens rule glvem dnd at the start aft fiuce the fit fer tn same setle it-rould obviausly be very difficult to play the thamb up- ‘on the highest O ofthe veale according tothe rale,slnee the fifth fl ‘ger Io eipht at hand. This name principle applies teal! the tealet and pedal Nagering ie found upea ths leweet note or the Highest gent papi wi have ie difficulty im i= Beate of A Minor German PAST etoSECOND CLAS ‘he minor bays af the last Cat, sharp Maes rato aqutralantG M,C tharp Major opis enharmenieequlvafent [fats {sharp rlner, sharp miner sod Bm Rev ‘epht and; Poorth fager on the upper of three binck plnoo kaye. {aft Haws Fours fager on the lowersest of three Mark plana keys (eseeptten: The Fingering ofthe right hana be ( Note: tn one ofthe eater seales,the note we now know Invariably for the seventh degree af the weale of Introduced It wat eulled H Ln Germany, Causequontty we have Bt dur ‘sod H rll) ‘This isthe eobarm nf-althousht [sprinted ‘printed In the fUat Kay sithough Hix frequently saan In sharp. The sealer of € flat min i hitly ororsoen ti the Ale SE mince to uted ate sme Fs moll 18 herp itnorinusedinttens) Sele of Feharp Miner (Germas (Mote: The 8 flat minor sens fm never ace, Ezception: Observe thatthe fugering In the rigit hand im this eats oes not follow the general rule. The forth Mger eomes upon Gxbarp. ‘This Is the Fingering mast widely employed.) Seale of Ceharp Major (German name(s dur) (ste. This tosle be enharmenle te DMlat majo, D Mat sar Uo used re trequentiy Wan Caher? mnler) Dat Major (ermen name Det dar} ote This seule ia exharmenie ta Cvharp maer,and is much mere frequently employed) mas ames mol) fC ahep mine bs wast the lagering Im the right hand fo thle seate rale-The fourth finger comes wpon Dshary- ‘the fingering moa! widely emplayed. (A fat maja, #8 fist major. Bat major (A fiat mizor.or Its enbarmonte g vharp minor, # fat minor. oF ite yarmonied sharp mlnorsb flat minor, ot Ite ¢xharmonie « sharp rmizerand f mince) REE ‘Right Kona: Fourth finger on B Fat ‘Ea?! Hud, Peurth fhnger oh the fourth dogros of seal Jet hand, fourth nger on second dupes fourth finger en G flas, fourth finger on Cia, Seale-of Afat Major (German name As dur)evle of Bftes Major (Germen name But) “ Heals of O shasp bia Haast Aug Pla tefehand pug) Reet alls on Beile afer (German named di) (Noe: the enkacmenie mnjorot this scale D sharp Major is practically Senls of A sharp nor (German pane Ait mild of P MajortGerman name Fur jon: Observe that ip the left bund the regulus flugeriog rule ried and that the fourth flnger comes on the second degree of the seule nt atndeh sorcuive + ‘Beals of Pinar German name Freel) eft hand the fourth finger falls on Seale of D sharp Minor (Ge (ete: Hoth Dabarp minor rnd Bffat minor are emploved with equal ‘raqueney. Observe the Angeriei exception minor.MAJOR AND MINOR SCALES 6 TWO OCTAVE FORM SPECIAL DIRECTIONS FOR PRACTICING THE SCALES Nergonosee Oureine lor Section B) Until real velocity werk Is attempted along the Lies indicated Inthis work. It bs hest to play the seals ata muderate rate of speed: whet ply the ees tharnsees The fllowing prastienl scale exerctoee are arranged La thin onder In ench majer key. BEC.A. These have been because rein ire the anme of “adtating Exerc from a giver centew note ey ultimately i Tae epsed must of sourne be a Pil and the amousl In siethadnlss ea nt bn prastlo. Seale of © Major Rabiarine Exrncise Section A Thin axarstes a designed to fx venciog the fingering wep by Us axasctans become autorstle. Proceed In the same manser With sll the radiating exercises on following pages. [Right hand flugering above TLaf bad flagering below (Play tsp oetar below Standard Scale Forms brtng | Het har an arash lo hit sh pas tosgh hate {forme ana tholr regular we lastronglysvecated by lending teachers. ‘The following forma. pprictlen hove eens cats seth ad dorm the baile ofthe cramluétlen work in mauy eeneervale Szouox B An-eestrary motion 1h Finger o8 BTU degree af weale) by tdebeds‘Im contrary mrotian, commencing withthe Sixth In Sheth Seale of C Minor Right hand: dub flager on 71h degree, Lnft han: th finger on second degree Since the fingering ofthe scale ae that of Cm x RH bars Milnor radiating o the major radiating exerciser andthe ‘he mdisting exercises with al mie PsA Ge musical compestians armonie Mier, in simtlar mation at woe {th Pinger on D2 degree ofthe nae) Harmonie Minar in Third, ar in Tapes 4h Pinger an TyCBd degree ofthe szale) Harmonie Minor in Sixth7 Seale of G Major ight baad: Ah ager on 7th depress Left hand: Ah lngr on Odeo RADIATING EXERCISE Right hand fingering above Left had fingering below 7 eer jopadealnyjggpedlypultveadil Metroneme plan ta regulate speed sume as with Cmanjor tush uh Fingar on A, (2d degre of scale I Slat MUD Blogger om ALt24 degree of soale) Seale of G Minor ight hand: 4th finger an 7th All sp tions sam Harmanie atiner ugree: Lett nds 4th finger on 2d degree mn eeaie of C 7 * ‘Teh Pinger on FFTth degree of the scale) eed s18 ‘Warmatic Minor i Thitds crn Temthe Harmonic Minorsin contrary motion.commenciise withthe Thind (idence of {iy Pinger on PH ancending aa Fa dee Seale of D Major eight hands Ath finger on Th degen; Left hand th finger on 2 degree Rapiating Exancises ight hand fingering abov Metronome plan to regulate speed imllar metlonIncentrary motion, commencing with the Thind 1 Thins or in Tents | (es ta Stats suv Finges on 8, Ei degree of scale Seale of D Minor ight hands 4th Finger on Fth degrees eft hnnds 4th finger en 8d degree Allpecial directions sume ne In seale ot © Harmonie Minor in lar atin Harmonie Minor ia contrary mgien mm shea! be 40, Fingeron E, 12d degree of seule) Mele Minor a amiler mt : wit the ghost nate20 Seale of A Major Right hand: 4th Flager on Z1h degre; Left hands 4th finger on 2d degree RApIATING EXERCISES Right heed fingering shove 7 TT at Left hand fingering below iplay tuv obtaves below) Metronome plaa te regulate spend ss Malor ia similar motion ‘Eh Finger an 8, (24 degree of» on 7th degrees Left hands 4 thar ‘ame as seule of C e 4th Finger:a Harmonie Sin 1m contrary motion,commeneing with the Third Harmonie Minor in Thints.or in Teathe 4h Pinger om A\CEd degree of veate! Harmanle Minor In Sixth Seale of E Major 44th finger on 2d degree Raprarig EXERCISES Mresing sb vee te ng z fingering Delaw play ts acteven Baloo, Metronome pian to cegulate speed sume os with C mal Major in similar metian Se Mth Pinger on D5, (7th degree of soale) eseta Major in Thieds ory Tomths Majer ix centmney motion, camienetog with the Third (oe pe Ti nngeron DE OU depres of sestey Major in conteary motion commenting wth the Siaib Harmenle Minor kn contrary {th Plager on DIGI depree of veal}2a Seale of B Major (Enharmonic C Flat) h fazer on top Key of group of three buck plavo ba finger on bottom bay of group of three blnek piano eye Rapiatine Exercises Right hand Fingering above Metrosoms plan to regulate spas ‘Major Se alillar motion 40) Finger on ASCtap ot hee 18 ot: Seale of B Minor Figer folloes sume rale as B Major Right hand 4th finger on top key af geaup of three black plano keys (in the desceniting melodie forms thin Is AE bot A 4th Fingar on Reltows key of group of Utes Black plane Bi ha os bn oiale of C Majerto Warmonie Minor Phirds.or tn Thin ‘ ips Melodie Minor tn eimilar mation, Scale of F Sharp Major (Enharmonic G Flat) ‘Right nnd 4th ager on top ey of group of three bias} plums keys [Left hand: 4th finger om Dottom hay of group af Cures binek piano key Malis ‘Rapiatine EXencises aoe ti $a sy a oF ? : + PP at fingering below (play two octaves below} Mate Major in contrary motion ‘Fe Pinger on Af top of three black piano keys is oot tt‘th Pinger en FF Seale of F Sharp Minor ‘Right hand: 4th finger en G sharp, Left band: Ath fnger on F (ote that inthe left hand she regia fingering fs followed, that i, rib fingor ofthe left baad goes upen the kottem key sf the okey ‘ight hand in vhs goals is altogether iraglat Inthe barmanto miner, it goes upan the wecond dagres ofthe ecale, @ sbncp, while i the sel Hurmoaie Mine i cimay motion ‘ey Pingur on FH Melodie Minor in slits motion26 Seale of D Flat Major (Enharmonic C Sharp) rilten fn the hey of B fat | proves amkward for the navice readeHowever the miner scale most invariably appears as C sharp miner with the signature of four: and net D flat sinerys this would require the complicated re af sight acs, Pepi rajor five flats) But the subaraucne hey of C sharp rarely aicouttered,as thes seven rps In the slgasture and Wight Dauetth finger oo top Ley of group of then black pla Left hand Ath flager on buttons key of group of thr Right hand fingering above Laft had Fingoring below (play two staves below) regulate apeed Major lo atatlar ‘ih Plager on GF Major in Sixth 1h Fagor on G+ Seale of C Sharp Minor ‘Right hands Ath finger on D sharp: Left hand: Ath finger oa Fsharp. (Note that inthe right hand fing the harman form heeys Ht goes upon D sharp. This ding mel dle seale, but in the ascending melodie aenle the fingering in the rile which permits the fourth in piano hays, sharp.)Harmanie Minor in contrary motion, commencing with the Third "3a Ath Fingeron PA Harmonie Minor in Sixth 4h Finger on PE Seale of A Flat (Enharmonic G Sharp) Right hand: Fourth finger on B fab Laft hand: Pourth finger on fourth dagrae of scale (D flat) (he met ve for seals af G shat fo racesanthe slznstore fe alg sharps) RaniaTine Exercises Metronomes plan to ragalate Major im similar motton9p in Thitds, or in Tenth ge ee aati ‘Eh Finger on 4h Pinger on Db Major in Sixth {th Finger on Db Scale of A Flat Minor (Enharmonic G Sharp Minor) Right hand: 1h finger on B flats Le hand th finger om dtd ote the difference tn the fing seals im the fon D flat the fourth degree ctlons samen ia teale of C. 4h Finger on DF Harmonie Minor in SixthScale of E Flat Major Right hand: dsh finger on B fat; Left hand: 4th fagar.on 4th degree Rapiarixe Exercises ‘ight hand fingering above vie t Metronome plan te regulate epee a Major in contrary motion gett ath Fingeron Ab Major in SintHarmonie Miner in contrary motien,commenehog with the Sixth 40 Fingeron Gh Stetodic Miner in simitar motion , 4h Finger on Gb Seale of B Flat Major Right hands 4th finger om B flats Left hand: 4h fingnt ax Ath degra Rapiatine Exenciszs Hight hand fingering above 5 ae a 2 2 2 ' thslow play to esters belayajo in conteary metian,commensing withthe Thied = 4th Finger on Bb Major in contrary motion commencing with the Sixth Major in Sixthe 404 Finger on B Seale of B Flat Minor (Enharmonic A Sharp Minor) Inwoutd be extremely smart to-atempt to apy the ne ar finger of sete inthe eae tthe eft han AAU apacal directions vame ath see of © Ike hand: dtu finger on (flat: Left hand: Ath Finger on (Noce: In this seale the fet ha (Gtarmente form) of on 9 water armenle Minor Iv contrary miles sth Finger on Gh Rarmunie Mino in Thirdar in Tegshn uit . th Pinger on OF Harmonie Minor In SiathsScale of F Major NM bandAth fingers Hegree | or 4 Fingeriog toes | oe in the 2 with for ate | Ringer RapiaTine Exeecises ight hand Fingesingeabore aft hind fiagerting below (play two octaves Betow) 4h Fingeron Majer be Thirds orn Tenth. ng mith the Sint Major in eonteney mation commgrgch sn geron Seale in F Minor Bight hand: 4th Mago onB at Le hands ih Foger on Ed deere Alfapectelirecissone ar tevle of tronic Minar ie cotery enon Harmen Miner nile elon a be fe nleassa3 Harmonic Mina? tn cantrary motion.commenclog withthe Third 1s Pegeran 4th Finger en & Melati Minor tn similar mation Additional Forms for Practicing the Seales ‘White many systems require the pupil practice al ef the seales In ‘he following forms a6 well as the preceding forms, the sathor does1 contrary motion commencing wiht “led degree inaetinr aimee lilbe ft intervals of Sixth “ah Frageron D Fingering the Chromatic Seale eM nat except 8 and E-Thied ages ow ll back Roya TR Mager. ‘The fingering 5 cithar the major ronal PLETE ET Et Edd I The Chromatic Scale (So-called French Fingering) fn contrary motion i 1in conteary motion, siarslag from the Sixth 84 Finger 0 The Chromatic Seale (So called English Fingering) (a similar motion In coutimry motion { ‘ah Finger on Bb Mh Pinger ox FS fn Thirds, arin Teatha {In contrary mutton, starting from the Third 44h Finger on Fa fe Sixthe 4th Finger on F The Chromatic Seale at Intervals of Major ThirdsAccented Seales ery important in geale playing. Ths ales have been played procticaly sithost notice ble accents In the fallewing 1 proneaneed uecent Is given to the first nave Ln ench mensure,and lesser acoente te the notes indicated In ether parts of the measure ln ne ‘Sompanied by any jerky motion of ( be prseticnd alternately with and without the metroname.The entire rice should bo played through fram beginning to end atthe sane ‘speed. That ia,aet the metronome ata suffictenty slow rate i play. Ing the half rates 20 that the section in thirty = second notes may ince the metronomic the first sign of be played withaat stumbling. Gradeaily ad sp sd always returning to a slower speed i. Do et depend spon th f the Work will be talen up In the chapter bran purpore,a8 Seales in Double Thirds © Major and Minor see A ‘th Finger on D Bib Pingeron @ and C D Major and Minor Who path Sth Fieger BbPingeron Gand D A Major and MinorB Major and Minor Sih Fingeron At F} Major and Minor (Enharmonic Gb) {ih Finger on Phand BY Eb Major and Minor (Enharmonic D4) : ip ii40 F Major and Minor 6th Finger on 6 € S10 Finger on Fand B flat 5th Fingeron F indr, similar motion uh Finger on © Bibs Plager oa © © Major and C Double Thirds, ‘5th Finger on Sth Piageren © C Major, contrary motion suf! Double Thirds, ih Flagereu © ch Finger on © 1b Finger on © The Chromatic Scale in Double Minor ThirdsThe Chromatic Seale in Double Major Thirds The Chromatic Scale in Double Minor Sixths i teoeEhi titd ij 24 Finger on FE 4ih Pinger em The Chromatic Seale in Double Major Sixths } ne a Pinger on Ebuad Ab Chromatic Scale Chords of the Sixth with an inner voice addeda Major and Minor Scales in Double Sixths In Seales in this form employ the third finger only once in each OctaveB MINOR we 4 Pinger an Be 4d Pinger on Bb + Major and MinorBb major and minor Bd Fingeron€ 34 Fingeran Ab Double Sixths, Major and Minor in similar motion Saitneee thThe Scales in Octave Form " asl Scned caten sity ed'bbe Store Mi: pla _poarth ginger in taad on the ack Kept end th AMAPingresnthe white Ih the (allatag sinitinas Where a6 fingaitng is given use the NPth finger. In playing legnts Ht in customary (0 clevate the wrist sfigtly when used apd depress it slinbtly shen the white keys are erm twa more flueet performance uni a- wolds the tendeney to atiffen atthe wrist fh finger on all octaves while or black to © Major and Minor iea F Major and MinorOctaves, Major, in Sixths Octaves,C Minor in Thirds oyy Octaves, € Minor, in contrary mation, a aa. . “0 Chromatic Seales in Octaves ‘When the Chromatic Scale is played staccato, the fifth Finger may be usea in every Octave in both the right and the left hands Octaves in contrary motion 8 Pager on Db 4 Fageron Dband Fi Octaves in Minor Sixths, in similar and contrary motion50, Octaves in contrary motion starting from the Sixth Trg i Finerran Dead FE The Chromatic Seale in Octaves, at Intervals of a Major Third apartcy Developing the Greatest possible Velocity ‘The highest speed suggested in any of the previous exereltes haw been two hundred an elght notes a minute. Thie is a very comfori= ot for the Payor of moderate ability. Infect, tbe demand fora very pe of vem advanced pout ws overeat rate tha" sta eory high rule ity to meet any eed emergency which may arise in the performance af aay plece. ‘The senles employing five black piano Keys con farm to the eatural bape of the hand. The shortoess of the thumb in comparison with Uke Tingers seems to ft thee xeales with black Keyn far better than Im whieh Fewer black kayy ars oasd.Possbly Ue most dffieit nntarel shape of the I ner knows that velocity developed in sonnece tion with oon seule will also affect altother scales, That in, velocity developed in the ceate of flat will enable the player to execute any ‘thes api nin posable eu develop keale plaplag untllu rte considerably high erthan one thousand nels per minute fs reached. OF evurses thie pre-suppeses perfect touch conditions and caret wystematic plying, For our purposes we shall ey ths four oetave tealn and divide Hang ott" ia ‘The frst sop in the development Is thet of xccustoming: the hand athe general contour of the seale by playlag the Pie® Notes In aye. ‘estlon untll the highest opeed ofthe metroname fe reached, Starting [sb aboet 100,Gradwally raise the apesd unill 208 [e attatned. ‘There comes a hme, howerer, wher the gradual doveloroent by mane tasivancing the metronome step by atep seems to fall (n producing eaulte. Then i¢ willbe found that progress will depen upoc may ep titions of what might be exe epurtsof speed. The method giv heranfer in thoroughly aetentfic and innumerable expertmants made 1b the siather with hn own pple ave Lnvarlably been attended with ty ‘ae plajed 4 lightly thatthe plays han ROWE that the had 4 rvs tam, le fact the pesfermer show think enly of the first aod last notes ofeach section. He seem to leap from the diret “Pier Note? ta the Bart the toustain deer fe crag to era. Th ote Inthe Interim are mtn tlaaed eondition [potd esily to the Lat le, lay tall ngnil Wd fora few secends before repeat dopted becuu upthe ‘these farmed nates of bridges ‘we shall now artempt to bulld rnetes as theugh the seule notes 8 the Pisk Nota. {rw the let uaod and then the right hand. always playing. much ‘eparately at fret The right flager must invariably be placed upon the aight note. It ix better te employ the finer toveh In thebs xerelnce ight Hand Fingering sbsve 4.100 w do208 seh hand plage ‘eeparately = ‘Let Hand Fingering below ‘Wham the ppl is Able to play the Pat Notes tthe highest Fate af speed, each section or bridge should be developed. Play the fra wectlonstarting nt about the rate of d= #0. Gradually rine this cate sep by slop urtil a rateaf about # » 158 Is reach rst ter the pi ean ny fhe iste Hanae ay the wecondescton ant Se "Then proceed th the ether sections hes ben tvelaped othe spew secrioxT ‘each on ofthe seven sect SECTION ItsEOTION Iv ‘The next stop in ta unite three seat ot atch section aa ‘us Endleated in the previous examples. The tale of tdvancemnt ray Wen ttle nlower Chan with 0 8 SECTIONS, 4. Ktsertn tad at's ‘Each hana plays eperately In sevilar rane uniter Sections IT. WV and V Wve vivo VI YEN 1 vine ext step i onder, ‘The pupil wil find utvanes cared In playing single sections ‘Avery Important peint is that ef ping the reat hetmeen the repetitions Under no conditions ab be exerted heyond the point of the alightentfatizue ‘ed hat euticbont ald the mowsclen SECTIONS I and Il unkted Al HL IV. WAV nev. Vivi Dov veve = MAMI, MEL ACTH popil ean undoubted play th ‘tepartaly) atthe rate af a thes be 1088 woten Tnarder (0 ndvanee the speed beyond the shove rate, cet aheald be rpeated, developing ovch wectlon But eta ‘metronome rate af aboat 100, Working in the feregeing manner the Playing atthe rate of {290 nates a slmute. Beyond thi, ‘learnoes must be preserved. Ueless ths precaution {a taken, twill be difficult forthe ear to heme each ate of the caledie- tinetiy. The writer found in the cuses of many pupils that » speed of [M00 and more notes 4 misute was not enly possible.bat could Lnvare bly ve accompli ‘when thin system wat parazed with minute a= tention to detnl.Geod east cannot be expected unless te pupil has lop vet He chould npply the tame prineiples to one ce two other mmajar and minor aenlen Mowever, the writer aes not advise even the cc eaten 3a Soentiy 6 gues eatalig' a oh anal Iv elmilsr manner unite:Sections Vand VI — viT teont heavePART III bs) THE STUDY OF ARPEGGIOS All aspoggtes are based upon chords. When tbe chord is stowed, ‘oat (all uaten played together, it in sald to be played Jo (Preseh Plapuek When the notes of the chords are struck one after the olber ue chord In auld to be arxeggie. The word Is Ill gal tiex like @ harp! The italian plural i erpeeni although the English plural Arpeggios is move gunerally vee. A-ariet of notes not davived (em chord in this way could not Properly be called an arpapglo although the ume ls often Isaaaly- ind to ouch groupe of nelen. The arpeggis moj csoalal of 06 hord beaker ln this mat of For i may censiat cf an extent the chord through repetitions of the same nates in diferent octaves. ‘The difficulties In fingering arpegaion successfully ae wight wen compared to those encountered In seale playing. They are chiefly omeerned withthe proper psnition af the third ager In the chord, diriculty in Mxing the degrees of a fourth amd IL Me ater forthe Caner tlk seeannuanrtmrconen dh tacding he pose keptbomeiey wee a ed ba sincbeanienh panten bom dein eeectee E taurtnelodng ths plane bap (ameatvertuse the hurt Dee igctin tert tse eas caer sea ms eos spear nats che bateerrente ene eure Shrhietnecen sec ates ine oecty ould Be paged Wy Te ‘ ters acd Bh tegen reac ind Pelee ater te oe i OrAGe plssateps Tun sua (As we sated oe ociral peis oe er —— SSeS iagering with hlsck pigne keys ae 3 stad rat Expanding the Hand without Injury mn mrpegele playing it's very necessary to expand thebandwith- ) By means of trac ut Injury. ‘should tL every ne (One of the most ansoying conditions that ean confront the teucber | that in plane play i kat of having an exceptionally Bright litle pupil wih a hand fur | (up and dows, 1 inal fa streich the chords In ploces thai would atherwee be wile sre hundreds of such eblldren whe are eh inion they become w ‘System of Expansios ‘of thin Kind. They are based aon the prineipie vere ave twe distinct lines af movement, 44, ‘ould not respond to this fu the simple triad, and ie ws af Rubinstaln Same af the roast ‘marked by enarmous stretches. Aithaugl Na own ba ‘he seemingly delighted in using extended arpeggion and averee hy digital quiekwas. cov emes# dv ager in areiching the hand, aed! many [n- Jari nod stra cises, Al development In this direetion must be very slaw This i foundation principle which the teacher in compelled ta observe, or ‘ay the penalty ef failure. It takes name months to expand the and. andl the greatest cure must be uaed! to avoid ever daing any particular | given to pupils uith very cmeli hands er several months before Ee # of the | is atempted, [gethem by 4 abIfol une af eh ps There aeedlen de uot the difiaity lies ia the ls ‘dow hand ins ‘One thing which the teuehar must ob telty wf the fleshy wnd maveular part of vol tral by alters34 “The third exeneine repress al greuter expansion ‘The contruction part ofthe sinecine nay oecslenelly he played with elthar the finger ot hail slneral tna practee of arpemats with: ‘ut the alteroation of perlofe of restr perloda of contraction nimiest by papile wbo-are in atraln.The eres techolealistTaussigns strong their graep larger in | believer ln contraction exexcinesand the first exercises ie hia famous ‘campeaiionsef Bam. | teenie ‘The thar har also used variant of these exereisen by plasteg the rad of eoitrsel This may be «pyle te The Chords Employed in Arpeggios ok to plve Instruction fm harmony, ihe chert only a Aminor = ic weald appear Aw arpegsie may be made from any chord. It may appear fv simple ‘woken chord form er in extended form covering two lnves: However only four I Pshagp minor vould appear Examine these chords closely unt you will wbserve that the notes co Etudes comparatively simple-the Gingering principtes being la the | taiued In each chord ure as far as the heyboard Is eoncersed. eaten man exactly the aame,The chords used In the general study of r= the sume chord, pepaios are In different jositin, exprested indifferent notation. Therefore, there Tha Hla (weniesnes oa wood a a Kaye ‘een he but this af these chard although twelve diftevant means of the harmony demande. Mhe it fingering. The Following showr ier in three different ps st Poa, 24 Pos. ae Bs (Also employed with diferent Cminer Ami 5 fiat minar) 5m in A, Pebarp Sminer — Ebminoe "The Dominant seventh cher. - = ‘chord of four notes and takes ts name from the fact that i ¥ ‘chord founded upon the dominant (ftth degree) of a | Diminished seventh of B minor (Aino employed withsfiferent notation iu Gshaxp minor F mina? a Gtminor | Frminor —Diminor thls chord. : ten gad ath Deaition Pon Pes, Ps, wventh of B flat minor aieo ith different notation miner Baminor Caharp miner, E minor and G minor E minor ‘The Dimiaised Seventh Chord ‘This chord Is freqoeatly found. It consists of serlew of sup poted minor thirds, fon natural Jecatien ie en the seventh sep The diminished seventh is the in Ininor alee snk inc Reps nd Ua Frquaally uted by cory Fh afer keys, wt well In cing elton, ‘after the Forme Suggested by LevehetixkyBroken Chords and Arpeggios ‘C MAJOR tat Paton era partian G MINORA Major E MAJOR serylaetha git gst hte lB thlsE MINOR cy B MAJOR. B MINORF SHARP MAJOR#0 © SHARP MINORE FLAT Majoroe B FLAT MINOR F MAJOR F MINOR,Arpeggios in the Key of C st keys out 1m simllar manier woud extend his ook bepeed pac in ly will have no di han urperaio ithoue pupil Toe he ehards 2 ‘ommoe chord muy be ts ple of fingering remain eulty im eas = rit EEE? bs = femal!ARPEGGIUS OF © MAJOR IN SIMILAK MOTION, STAWTING WITH DIFFERENT INTERVALS.A Useful Arpeg gio Variant ‘The following exercia in thin connection. A few minstes prctice upon thinex: sand afford wus a uae ly invariably predees goed resulta,F Swarr Mason F SHARP MINOR & © StiaRp Mason ney { gir Evharimanieally Dat Bajer ot tee AFLAT Maon ‘ A Fuat Minon heBroken Chords and Arpeggios of the Dominant Seventh MAJOR AND MINORon D MAJOR AND MINORE MAJOR AND MINOR Fister pat sateen sans a 2 pees Jae SSeSG FLAT Major AnD MinorA FLAT Major AND MINOR ate ertgas peteB FLAT MAJOR AND MINOR Cees sabusge +3 . F MAJOR AND MINOR = ast oa $ry Extended Exercises in the Arpeggios of the Dominant Seventh These cxerclaes may be transposed to other teys by advanced pupils.) ANPEGGLOS OF THE DOMINANT SEVENTH CHORD AND ITS DIFFERENT POSITIONS IN SIMILAR MOTION ANT SRVENIW CHORD AND IES DLEFENENT FOSITIONS IN CONTRARY MOTIOW ener % - ARPEOUIOS OF THE DOMINANT SEVENTH CHORD IN SIMILAR OT aye aniasys agitate Bats pee" Arpeggios of the Diminished Seventh (Four Positions) © MinorB MINOR E MINORa F SHARP MINORG SHARP MINOR s B FLAT MINOR I apes _ n, sudet tees s i at™* RES AMPEGGIOS OF THE DinliNISHED SEVENTH CHORD IN ITS DIFFERENT PostTIONs (C MAJOR AND MINOR,SINILAR MOTION) wot sal (ae ebb b3p, azewny SIMILAR MOTION AND CONTRARY MOTION? Be tas lana ash = soy ta J mesVaried Form of Arpeggio Exercise onthe Dominant Seventh and on the Diminished Seventhestesik tats fabtsa Maa, ae gee a part ie giab augue EY toed