PAT eINM Celalwlesvalnny MODERN COURSE FORTHE PIANO THE Witus Music Co. FLORENCE, KENTUCKY 41022-0548CONTENTS Page Lesson Analysis. Bach, J. $—Prelude in C major (From The Well- ‘Tempered Clavier) a 6 ‘Schubert, Franz—Scherzo in BP Cui, Cesar—Orientale... Grieg, Bdvard—Butterfly. ‘Mendelssohn, F—On Wings of Song. Mozart, W. A-—Turkish March... Land-Skabo, §.—Prelude. Sjégren, E.—Erotikon Op. 10, No. Godard, B—"Chopin'.... Scharwenka, X.—Polish Dance... Brahms, Johannes—Waltz in A? Op. 39, No. 15.. 38 Arensky, Anton—Impromptt..n A Olsen, Ole—Fanitul. Chopin, F—Valse Op. 64, No. 1 Schumann, R.—Romance in Ft, Page Sehytte, L.—Ghosts.. Beethoven, L. Van—Adagio (From "Sonata Pathétique").. Albeniz, I—Tango. ‘Schubert, "Hark, Hark the Lark" Lesson Analysis. Palmgren, Selim—May Night Strauss, Johann, Jr—Blue Danube. Chopin, F—Nocturne in E>... ‘Tehaikovsky, P, I—Theme from Piano Concerto... 81 ‘Thompson, J.—Scottish Highlands Scene. 84 90 ‘Liszt, Franz—Hungarian Rhapsodie No. Debussy, Claude—Réverie. 95 ‘Moussorgsky, M.—Hopak... 100 Rachmaninoff, S—Melodie Op. 3, No. 3 DiAlbert, E—Gavotte and Musette. ‘Supplementary Material.Prelude in C major by J. S. Bach 5 (from The Well-Tempered Clavier) The Well-Tempered Clavier isthe ttle given toa set of Preludes and Fugues composed in all major and ‘minor keys by Johann Sebastian Bach, Prior to their appearance, compositions for keyboard instruments existed in but a few Keys. Because of the earlier system of toning (ce. the pure scale) it had been impossible to play in all keys, or even to imedulate from one key to another. The evolution of tuning is an involved subject and one that cannot be treated adequately hore. Suffice it to say that inorder to perform i all keys it was necessary t0 adjust ot “Temper” the various intervals of the scale. (Hence the origin of such terms as "tempered scale, »well-tempered clavier", ete.) ‘There were various systems of tuning in vogue, and Bach produced this work primarily to prove that his favored system (known as "equal temperament") gave the desired result, ‘The fact that in so doing he added just so many more masterpieces to Keyboard literature is @ hApPY incident and the result of Bach's perfection as a musical architect. Iti assumed that the serious student ‘will study many ofthe Preludes and Fugues a a later period of his pianistic progress. “The first example in this book is the PRELUDE IN C MAJOR from the Well-Tempered Clavier, and it should be performed with just enough finger articulation to insure clarity, and enough of the rolling ‘motion to acquire sparkle. ‘A valuable hint to interpretation: play this prelude, not as an exercise in broken chords, but as a Subdued and colorful accompaniment to an imaginary melody. Some such idea must have inspired Gounod when he composed his famous song, "AVE MARIA", in which he uses this Bach Prelude intact ‘as an accompaniment to his original melody. An extract from this famous work is shown below. Ave Maria Gounod’s melody, to Which Bach's Prelude forms the accompaniment. afl , = pape oT peas z === ———_ af mi pT pT en Ss wer er et PT yey add Sapp t : ——se S| ea a yond ape) ade) gb gd _| gabe) _ gd Copyright MCMXLI by The Willis Musi Co rte ine USA.Prelude in C major (No. 1, from The Well-tempered Clavier) 1.8. Bach (1685-1750)8 ‘This Scherzo in B Flat was not published until after the composer's death. In mood it i light and playful and should be played with due regard for dynamics. The lyric nature of the trio section is at once apparent. Contrast between ‘egato and staccato passages should be sharp. | Scherzo in BP Posthumous) Franz Schubert (1797-1828) Allegretto ——~ : «100Scherso da Capo al Fineuw (César Cui was bom in Vilna in 1835. His mother was a Lithuanian and his father a French military officer—one of ‘Se many who failed fo return to France during the retreat from Moscow. Young Cui showed an early aptitude for ‘susic and, even though he later followed a military career (he was recognized as an expert in fortifications), music ‘ess always his avocation. While most of his compositions were for the voice, probably his best-known single ‘pic is the "Orientale" from a set of 24 compositions for violin, published under the name of Kaleidoscope. Note ‘Se striking similarity between the opening phrases ofthis melody and that of "Marche Slave" by Tehaikovsky. Its ‘evident that both composers used the same folk tune as basic material Orientale Allegretto arr (César Cui (1835-1918) “Arranged by J.T. 4allarg —— | {pp a tempoNever was 2 piece of music more ha only named ta is Evry ie hae sugges of he Tight of butterflies in a sunny garden. Allow the fingers to literally ‘flutter’ over the keyboard, always, of, Sou, with de ead fr psig manic ad geal ccumey. A magento of be el |sentoie,seectve. Ths desepve mus Paya ch Papillon Bavard Gri Butterfly) (isa 1907) Allegro grazioso a Zcon moto e poco stretto tre corde16 “This delightful song by Mendelssohn is perennially popular, whether it bein arrangements for voice violin or piano. Tt music to be payed simply but with real expression. In the second section make ‘ure thatthe contrapuntal figure are not allowed to obstruct the even ‘ight ofthe melody. On Wings of Song Felix Mendelsohn Andante tranquillo 4 (1809-1847) 5 2 ees. go 5 3 Pre poco animate20 ‘Because of a certain Oriental lavor, mild though it may seem to modem ears, Mozart himscif named this number the Turkish March. It forms the Rondo movement of his Sonata in A major. Follow all markings in the text carefully and play with a clean, well-articulated touch. i ‘Wolfs Amadeus Mozart Turkish March en ar sotpies #57529a“ | This Prelude, while short is'biginits proportions and makes a valuable addition to the repertoire, Incidentally, it constitutes a fine exercise in free use of both arms, Use pedal with care, Signe Lund-Skabo Maestoso gS, Prelude (1868-1950) a6‘ 24 y Fie Few pie * eS ERE ie |S sempre forte Pi animato e legato ,‘This beautiful composition in lyric style will amply repay careful attention to phrasing, pedalling and tonal quality Erotikon Op. 10, No.2 Enil Sjogren Allegretto (1853-1918) _.. -- yagi ge |Fed. simileiS this composition Godard has set out 1 imitate the style of Chopin, He has succeeded very well indeed, and te) sesult isa picce half valse, half mazurka in style, and reminiscent of Chopin in a lighter vein and mood. Chopin Op. 66, No. 2 Benjamin Gogars Valse (0849-1895) Tempo rubato‘meno _mosso animate molto mareato| ———— (con fantasia 2Pi moderato, con molto fantasia. 2 StS 4 enn = f a ad 2 =? Sie bee 4 5staccato chords and the down-arm stroke for the accented sustained chords. Dynamic contrasts should be I is safe to use plenty of rhythmical vigor in the execution of this peasant dance. Use the up-arm stroke for the sharp. Pedal with care. Polish Dance Xaver Scharwenka / (1850-1924) Allegro con brio + : i i A 4 |S b.dardrdyd decrese.pile mosso Zay F by a iets ete— Dadrds dy oD |esprese, Smareato il Basso‘The numerous and varying treatments accorded the waltz form have been explained in the FOURTH GRADE, BOOK (Pages 18 and 28). ‘The walizes of Brahms, like those of Beethoven, have for their inspiration the old German ‘Lindlet' or peasant dance and should be played in forthright fashion, at once simple, direct and sincere. Avoid any attempt to impan subtlety or sophistication to these measures. Save such effects forthe valses of Chopin, for example. 610 Waltz A flat major 0p. 39, No. 15 hos pete assai (1833-1897) —* [ P dolce = |= —_ + > | 2 a tempo simileSaosin, aAlthough Arensky saw fit to title tis composition ‘Impromptu’, its plaintive, heart-searching melodies suggest a ‘Noctume. This piece will reward the most careful tonal treatment. Carefully observe all phrasing and use pedal as indicated, Impromptu in B Anton S. Andante sostenuto (1862-1906)“4 According to ancient Norwegian legend ‘Fanitul' was the name of a savage dance dictated by the Evil One to village | snuscians. As time paged on, belie inthe diabolical origin of the dance grew, and sometimes led to mortal combat [between peasants when musicians played it at rural weddings, Fanitul Ole Olsen Op. 23, No.3 (1850-1927) Allegro vivace : 4 | A ip 100A gf 8 @42.98 61004 Madame la Comtesse Delphine Potocka Valse F. Chopin (0p. 64, No. 1 (1810-1849) Molto vivace Sean Pa degpiero 6100Romance Op.28 R Schumann (810-1856)tranguitlo ee — a yeBPesS soo espress. allarg—*— — ———54 Allegro molto dessoate Ghosts (Etude) Cone Ludwig Schytte (1848-1909) B100[is ini nd oping Agro ho Soa Paige” of i eterno aul ed so complete inital it's fedomly pte ost uber Tee ely lle scued on Ye tanga | toe Ext rope tal nner boonen Ve, Phas and peda is etre Adagio from Sonata "Pathétique" Ludwig van Beethoven ge ee a (4770-1827) i 4 5 % 7 = ah ae ear psempre legatiss,a piacerebrillante tranquil fos! ice ee = = PA | F ‘effi ere ore art E pe i = ee ee ritenuto jyTango in D Isa Albeniz Op. 165, No.2 (1861-1909) 6100a ‘This universally beloved song of Schubert's has had innumerable settings. In difficulty, this arrangement for piano lies somewhere between the Liszt concert transcription and many easier adaptations for early grades. Well played, it becomes a brilliant concert piece. Hark, Hark, the Lark Franz Schubert (1797-1828) ‘Transcribed byL.T. Allegretto ses 1006100 ine610066 LESSON ANALYSIS on "MAY NIGHT" by PALMGREN In common with most modem compositions, this number makes rather free use of dissonances to add subtle "seasoning" to harmonic progressions ‘The beauty of dissonances can only be achieved by skillful use of the pedal combined with careful blending of tones. To avoid discordant effects the dissonant notes must be subdued and never allowed to obtrude upon the harmonic ‘whole, Often a simple four-note chord will require four different tonal values — the prinicipal note being given most prominence and the others tapered off according to their value as part of the harmonic structure. n an example of this Sort the dissonant notes almost always have less prominence than the consonant intervals. Application of this principle occurs in measure 3 of the following composition and should be treated as follows: = ‘The low FF in the left hand is a melody tone and must stand out over all other notes inthe measure in volume, richness of tone, and in sustaining quality. iT ‘This contrapuntal figure (also played by the left hand, crossing over) is second fifa in importance and is teated accordingly. P= = —_The harmonic background, played by the right han, is thied in importance and must be played with a thin quality of tone $0 as to lie underneath the tonal ee a uinson ven oes muse culy dzentiewdanocroeah the measure kept within definite tonal limits So thatthe pedal can be sustained throughout without causing an unpleasant blur. ‘This treatment is in force throughout the entire piece. Therefore, to insure proper interpretation, observe the following: Pedal exactly as marked. Give the best possible singing tone to notes marked with the sostenuto sign, thus, p ‘Make a wide distinction benveen melody tones and the chord accompaniment, ‘and allow the little contrapuntal figures to lie somewhere between the 10 in importance. The more dissonances included in one sustained use of the pedal, the more care is needed in the matter of tonal delicacy and balance. 61000 ‘Selim Palmgren has been called "the Finnish Chopin." He was bom in Bjomeborg, Finland in 1878, studied at the Conservatory in Helsingfors, and afterward in Berlin with Ansorge, Berger and Busoni. He was well known jn Scandinavian countries @s a pianist, composer and conductor. He was a notable representative of the modem school of Finnish composers, and his "May Night" has been called "A Tittle masterpiece of impressionism." May-Night Selim Palmgren (1878-1951) Poco andante e placido PP ¢ legwiero teneramente wna corda wate 610PP misterioso doleissino 6100legato ha. Lh.To Laurence B, Ellert Paraphrase on The Beautiful Blue Danube Waltzes by Johann Strauss John Thompson vo rhea mp Tempo di Valse ‘ $5 e512 - - ‘4 a 6100 Copyright MCMXXXIX by The Willis Music Co.n eautorieting i i = a : t «1006100"4 4 21 4 sempre staccato 125 § = | pp molto tranguitio Fall. 61006 Legsierissino . 100Madame Camille Pleyel 8 i Nocturne in E flat Frédéric Chopin 0p.9, No.2 {as10.189) Andante J.120 ae ee aba ‘apress. dolce ia 6100a tempo. 1eeks \ed,bse 5 5 & poco rubato | semy PP Pe, ein oops Pe31 ‘This very ‘condensed! version of the opening theme from Tchaikovsky's Piano Concerto No. | makes available both the piano and orchestral parts to be played as a solo. Students of the FIFTH GRADE BOOK should be looking forward to @ not-oo-distant day when this famous concerto in its original version can be added to their repertoire. Opening Theme from Piano Concerto No. 1 PLL Tehaikovsky (1840-1893) Arranged by J. T. Andante non troppo e molto maestoso a2 ii eo Pel rE 100stesso = 6100dliarg| PPP 10084 ‘The first section ofthis little program piece is reminiscent of the roaring torrents of the Scottish Highlands, and the ‘middle section is so martial in character as to suggest a March of the Highland Chicfs. Play throughout in descriptive style. 10 Mrs, Earl T. Western A Scottish Highland Scene Allegro furioso John Thompson im 4 6100 Copyright MCMXXXYVIII by The Willis Music Co.poco allarg, Alla marcia 100100Alla marciabrillanteFranz Liszt composed fifteen rhapsodies built upon traditional songs or dance airs ofthe romantic gypsies of Hungary. Number Six, a general favorite, has been especially adapted for inclusion in this book. Hungarian Rhapsodie, No. 6 Franz Liszt (1811-1886) ‘Adapted by J. T. Tempo giusto Maestoso Je 6100Presto 4 Bs ss} aus lee Sigs aqaseenes satys Spe95 In the case of a modem composition such as this beautiful "Réverie” by Debussy, it is impossible to indicate exact pedaling. Much depends upon the natural endowment of the individual pianist, his ability to balance tonal Values of the several voices, discrimination in blending dissonances, and the inherent quality and quantity of tone available in the piano which happens to be in use. In view of these considerations, the pedal makings inthis edition are not arbitrary, but should serve as a general ‘guide to the performer. USEFUL HINTS: “When the ‘blur’ seems too pronounced, take afresh pedal Endeavor to contol tone quality and quantity toa degree that allows the pedal to be sustained as long (or neatly as long) as indicated, ‘Review paragraph on USE OF THE PEDAL, Page 66. eyed Claude Debussy Réverie (1862-1918) Andantino sognando 3. Dp doles assai ¢ com gran’ espressione a ee neat meters 6a eee 2 1s 2s mono P Pie 212 6100Hopak ‘M, Moussorgsky (1839-1881) Allegro vivace ‘Adapted by J. ‘Meno mosso rite dim. 4100 Meno mossoS. Rachmaninoff (1873-1943) Adagio sostenuto pap simile 100= Gavotte and Musette Bogen d' Albert, Gavotte (1864-1932) Moderato ae = 2 4 2 5 61006100m ‘A PARTIAL LIST OF THE WORKS WITH WHICH STUDENTS SHOULD BECOME FAMILIAR WHILE STUDYING THE FIFTH GRADE BOOK FROM THE MASTERS compost ae Cconporer Te === “awo-aet tnvetins BAD ee ev St HOMME ond, Opt Tieam NO. Prado, minor = = nary in minor ‘Sehereo aE sor “Gave minor (ab Soa) "Ron eapriecso ‘ate, Op 33 Nat (Ba) ten ine gat; Op 34S? (Cm) stole arice nae Op. 58 Ne 6 (Dm) ce sonatas ae ai Rondo ln (Leber) "acai ion capecs, Op 129 (Gea) ‘eto So eane een Dance Pastore esas an) SCHUBERT no Some Mal Op. 96, Ne-2 CITT Moment Mase, Op. 9, 3 = imran, Op. 95, Ne? TT mpromete, p. 9, Nok scam aba, Op it eI Reve Op 99, Ne. 3 moe re MODERN COMPOSERS anseN z encore — | MOSZKOWSKt oon Seri eo Malagoeta = Tae =< SuteOp31 ears DESY ine Arabesque —— roar = Ghirdetiwe | PADERE WSK Tecate, Op 6, No.4 thin, Op Not may i ery mit See Cotes wee hd vr Romance, Op. 24, Na. 9 meu ar enn Step Maa [LESCHETIZKY —— “ase Chromatin es ‘Ween ie tc) Polo Brine Batteries Op. 30 by Beethoven, Mozart eis intended to the works of Chopis and Haydn as seem ited tothe advancement of the individual student. Tis a