JOttNTHOMPSONS

CouRsE
.MODERN
fORTHEPif\NO

gl
SICllND
GRftDE
BLJóK
5omd/iing.#e:vJ
Everyhsort

Stories and Biographical

Skelches by Drawings by
Laurence B. Ellert Doris and George Hauman

FOLLOWS UNINTERRUPTEOLY ANO

IN PROGRESSIVE SEQUENCE THE
MUSICAL FOUNOATION DEVELOPEO
BY THE .. FIRST GRADE BOOKº

THE WILLIS MUSIC COMPANY

· Order No: WRM000033

 PREFACE
INCE the plan of the author's Modern Course for the Piano is to make the
S teachers' and pupils' work so pleasing that it will lead to,the quickest and best
results, THIS BOOK TAKES UP EXACTLY WHERE "THE FIRST GRADE
BOOK" LEFT OFF. Briefly, it continues, uninterruptedly, to "make haste
slowly", but surely and steadily.
With consideration for the needs of MODERN BEGINNERS, the contents
of this, The Second Grade Book, are not limited strictly to piano music. In order
that the yo~ng student may experience the joy of a COURSE IN APPRECIATION
as well as of PIANISM, examples (with explanatory notes) from Light Opera,
Ballet, Grand Opera, Oratorio, Songs, etc. have been included. Hence, the slogan
"Something New Every Lesson" follows in logical sequence.

TECHNICAL AND MUSICAL PROGRESSION

In THE FIRST GRADE BOOK most of the examples remained necessarily
in the five-ftnger position. In this book, the positions become gradually more ex-
tended. The thumbs are trained to pass under and the hands over; Leger lines
are introduced; the Pedals explained; Major Scales and their Minors, both Relative
and Parallel, are presented; Examples in Hand Expansion, Cadence Chords, Ar-
peggios, the Dominant-Seventh Chord, as well as, Lessons in Chord Analysis, Trill
Studies and, of course, the Various Touches are included.
Most of the pieces are preceded by short technical exercises, which in many
cases, are subtle illustrations on how to practi,e-an art in itself.

MAKING MUSICIANS
Everything possible has been done to encourage the pupil to think and f eel
musically; to play with musical understanding so that his progress will be measured
by increased enjoyment, as well as in terms of technical proficiency.
Examples from the Mastevs include Bach, Handel, Haydn, Mozart, Beethoven,
Chopin, Liszt, Auber, Ponchielli, Bizet, and Offenbach. It is the sincere wish of
the author that pupils who complete this book will have become not only better
pianists but also better musicians and that the urge to explore still deeper into the
wonderful realm of music will have been intelligently stimulated.

P.S. Certificate of Merit (Diploma) wül befound on page 91.

42980
 CONTENTS
"Something New Every Lesson"

Page Page
1
Preface ..................................... . 1 Hand Expansion-"Off We Go"-Streabbag. 42
Thumb UNDER 2nd Finger (from Black key) "In Up-arm Stroke-"Dark Eyes"-Russian Falk-Song 44'
the Alps" ................................. . 3
Cadence Chords . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
What is Light Opera?-"On Yonder Rock Re-
clining"-Fra Diavolo. . . . . . . . . . . . . . . . . . . . . . . . 4 Chord Analysis and Writing Exercise-"Etude" 48
Second Finger CROSSING Thumb-"Hop O' The Dominant-Seventh Chord. . . . . . . . . . . . . . . 49
My Thumb" .................. ·;............ 5 Ludwig vam.:,Beethoven-"Romanze". . . . . . . . . . 50
Johann Sebastian Bach-"Menuet". . . .... .... 6 Signature of Alta Breve-"Scherzino". . .... .... 51
Leger Lines and Leger Spaces. . . . . . . . . . . . . . . . . 7 Franz Liszt-Theme from "A Dream of Love" . . . 52
Chromatic Progressions-'"Round the Village". 8 Contrast in Mood-"A Little Slavonic Rhapsody"
Signature of Common Time--"Country Gar- (D minor). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
dens". . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Wha t is Ora torio?-"Hallelujah Chorus"-
What is the Ballet?-"Dance of the Hours"-La Messiah................................... 56
Gioconda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1O Tarantella-'"Skipping· Through the Forest". . . . . 57
Wrist Staccato-"A Christmas Caro!". . . . . . . . . . 11 Arpeggio-The Rolling Attack. . . . . . . . . . . . . . . . . . 58
The Pedals of the p;anoforte . . . . . . . . . . . . . . . . 12 Arpeggio-"Etude" by Czerny. . . . . . . . . . . . . . . . . 59
Long and Sustained Pedal-"Distant Bells"- Arpeggio Variation-"Hinkey, Dinkey, Parley
Streabbog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 14
Voo" ............... ,...................... 60
The Pedal with Arpeggio Groups-"Etude"-
Duvernoy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Melody Playing-"Deep River".. ............. . 61

The Pedal in Chord Playing-"Bill Grogan's Cross-hands-"Moths" (Scherzino).. . . . . . . . . . . . 62

_Goat"-Left Hand Alone. . . . . . . . . . . . . . . . . . . . 17
Triplets (Diatonic figures)-"Grandpapa J ona-
The Connected Pedal-"ln Church".......... 18 than" ............ ,... ............. ....... . 65
A Frolic in Velocity-Adapted from C. Czerny. . . . 19 Georges Bizet-"Habanera"-Carmen (D minor
and D majar). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Sustained and Connected Pedal-"Carry Me
Back to Old Virginny". . . . . . . . . . . . . . . . . . . . . . 20 Staccato-"The Bee and the Clover-''. . . . . . . . . . 68
Thumb UNDER 3rd Finger-"Reverie". ....... 22 Broken Chords in Triplets-"A Trial Flight". . 70
Third Finger CROSSING Thumb-"Puck". ... 23 The Trill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Frédéric Fran!;ois Chopin-"Prelude in A Ma- Trill Study-"The Nightingale and the Cuckoo".. 72
jor" ................................ ,..... 24
C Major Scale in Contrary and Parallel Motion 25 Staccato and Trill-,"Two Guitars"-Russian
Gipsy Song (D minor) . . . . . . . . . . . . . . . . . . . . . . 74
Variations on a Theme-"Starlight Waltz". . . . 26
Sigo Ú',.,,.,,..,"Song of the Birds". . . . . . . . . . . . . . . . . 7d
Teaching the Minor Scales. . . . . . . . . . . . . . . . . . . 29
Jacques Offenbach-"Barcarolle"--Tales of Hajf-
The Relative Minor Approach................ 30 mann..................................... 77
The Parallel Minor Approach . ....... '. . . . . . . . . 31 Franz Joseph Haydn-Theme from "Gypsy
Rondo".. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8(
Major and Minor Modes-"A Journey in the
Arctic" (C major and A minor). . . . . . . . . . . . . . . 32 Rotary Attack-"March of the Gnomes". . . . . . . . 81
Fourth Finger CROSSING Thumb-"The Sky Jungmann-" Will o' the Wisp ". . . . . . . . . . . . . . . . . 82
Pilot". . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Rotary Attack-"Jocularity".................. 81.
Melo<Ífo Minor Scale-"Hide and Seek" (G minar) 35 Scale Fingering Chart-Major and Minor...... 86
Study in Smooth Finger Legato-"The Gipsy The Three Minor Forms-Natural, Melodic,
Camp" (E minar) . ............. ,. . .. . .. .... . 36 Harmonic. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8'
What is Grand Opera?-"Minuet"-Dan Juan.. 38 Glossary of Musical Terms used in this book.. ~8
The Mazurka-"A Little Polish Dance" (A minar) 40 Technical Drills.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8'
Sostenuto-"The Hare and the Hounds"........ 41 CERTIFICATE OF MERIT.. ............ ..... 91
42980
 Thumb UNDER the 2nd Finger (from B..lACK key) 3

efore playing this piece place your hand

Hand in NORMAL
five-finger posi tion
Hand position with thumb
UNDER the second finger
B as in figure 1and practise the following
exercise with the RIGHT HAND until the
thumb can be passed under smoothly with-
out turning the hand. The hand (or rather
the arm) must pivot over on the thumbv.ith-
out breaking at the wrist.

11

In the Alps
Andantino
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NOTE: Tke impot·tance of tke preparator11 ezercise cannot be ove1·estimated. Smootk passage pla71ú1g cannot.
be developed until tke pivoting motion oftke hand over tke tkumb kas been maste1ed. Tkese ezercises skould
therefore be carried in 1·eview until tkey can be done witk ease . .Por technical drills see page 89.

W. M. Co. lí77o
.(42980)
 4 •

LIGHT
of
OPERA or MUSICAL COMEDY is a play set to music in which part of the dialogue is sung and par!
spoken. Such works usually have a happy ending. "Fra Diavolo" (Brother Devil) which derives its
it
name from the hero, a famous Italian bandit, is a comic opera in 3 act.s; music by the French composer, Dan.iel Fran
c.-oisEsprit Auber. It was first given in París in 1830.
Zerlina, an innkeeper' s daugkter is betrotked f.o Lorenzo, a soldier, bu
tkey are too poor to marry. Fra Diavolo, disguised as tke Marquis San
Marco, is travelling witk two Englisk tour.:.Sts,Lord _andLady Allcask,
in order to rob tkem of money and jewels. Wken tke party arrives at tke
inn and tells of an attempted robbery by kigkwaymen, Zerlina, believi-iig
Fra Diavolo to be a real marquis, tells kim tke story of tkis bold bandit's
lije in tke aria (solo) ''On Yonder Rock Reclining". Tkat nigkt, after tkei
guests retire, tke marquis (Fra Diavolo) witk several of his followers, con~
ceals kimself in Zerlina's room to rob Lord Allcask. Lorenzo, wko kas
been ordered to pursue tke,J>a"!'1its,arri~es witk a party of soldiers and¡~
arrests two of tke robbers wkile Fra Diavolo escapes to tke mountains.l
In tke tkird act, he is captured. Lorenzo receives a kandsome reward,
ha Dla11olo as thtl Marqu/11-A,:t / marries Zerlina, and tkey live kappily ever afterwards.

:;WªYª
Careful
On Yonder Rock Reclining
to pass tke thumb under smoothty
D. F. E. Auber
Allegretto

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W. M.Co.5770
 2nd Finger CROSSING THUMB (/rom WHIT.ll and BLAOK lceys} 5

Hand in NORMAL Hand positionwith efo re pla~ing: this piece place your
five-finger position second finger OVER thumb B hand as 1n figure 1 and practise
the followingexercise with the 'LEFT
HAND until the second finger cross -
ing can be played smoothly.

r r t eµCJ r r
1 2 1 2 t 2

1 1,¡;,,
:>= I 1
i 2 t 2 i 2

1:>=ElC!J
I F FIEEU IJ rr , ·11

Hop O' My Thumb

Moderato
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.Ji'oradditional E:r:ercises see page 89

W. M.Co. &no ·
6
ohann Sebastian Bach, the greatest of anl
J the masters of music, carne of a musical
family whose ancestors for nearly 200 years had
=

been noted arnong the townspeople of Eisenach,I

Mornlng
(Painlini by Ros1111ho/.)
C0Nrlu7 Pholo,raphic Socid7, Berlin-N,
Germany. The story is told that his great-great- .
grandfather, a very jovial miller, used to sit in
the door of his mili and sing and play his zither
while the mill-wheel went 'round and 'round,
grinding the grain. At the age of ten, Johann's[
father-died and he went to live with his brother, •
also a rnusician. As it was difficult to get music ··
in those days, young Bach used to copy his
brother's music by the moonlight: At the age of
eighteen, he often walked for miles, sometimes
without food, en route to Hamburg where he
could listen to concerts. Toward the end of his
life,,.Bach was a great favourite among the princes
and kings. Nothing gave him as much pleasure
Progers 111th11-Bach Famltg as having his many children and relations as-
semble in the Bach home and play music.
Y. Graphic Socia7, N. Y,-A1111u

J. S. Bach (1685 -i'750)

Moderato
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-- 15
The Menuet is a very old dance of French origin. Its title is derived from the French word menu (smali)
and refers to the steps of the dance. It should be played at a rather deliberate tempo andas gracefully
as possible. Be sure to observe all phrasing marks.
W. M.Co.5770
 LEGER LINES
LEGER-LINESare short lines used on notes which lie ABOVE or BELOW the staff.
LE6ER-SPACESare the spaces between the leger lines ABOVE or BELOW the staff.
L.EG.11.ll-LINBS or SPAC.IIS are counted either l!P or .l)OWN,
away from the staff and are ver y easy to recognize if
we remember tltem as .BO.ll.llOW.Jl.l) LIN BS or SPAC.ES.

""
Leger-lines and Spaces ABOVE the Treble Staff
If we imagine five lines
drawn above the TOP line
of the treble staff and
mark the leger-lines, the
FIRST BORROWED LINE
will give us the positionof
A and B. TWO BORROWED
LINES will show the po-
sition of C and D etc.

The following illustration shows how All leger-lines and spaces in the Bass clef (above Middle C)
are lines and spaces Borrowedfrom the Treble clef.

These notes in the Treble clef when transposed to Bass clef appear as above in music.

Note that tite .lINBS indicat-

ed by the dotted e:xtension of
the sta./'fshow whatLIN.BS and
SPAC.ES were .BOR.IWWBDfrom
the Tll.E.BLB C.LB.F.

Toread or write notes Below middle, C in the Treble clef we Borrowleger-linesandspaces from
the Bass clef.

These notes in the Bass clef when transposed to Treble e lef appear as above in music

Ptease notice that the notes shown

on the dotted extension of tite staf.l
occupy the same LINBS and SPACES
.BO.R.llOW.E.l)from .BASS C.LB.F.
8
CHROMATIC PROGRESSIONS

This piece is built on chromatic progressions. Learn to play the RIGHT HANDMELODYPATTERN
first. Notice that it is repeated in several positions. 1
RIGHT HANIJ .MJILO.DYPATTERN ,, ~U j J.J#j i j 1 ~ J.j $ 11

Next, practise the following LEFT HAND PREPARATORY EXERCISE.

•tee 1f • 1:Ce 1t t 1
1t e IE, • 11
5

J•

mf

•
'1
5
5

W. M. Co. 5770
 THE SIGNA.TURE FOR COMMON TIME 9
and its origin
O A CIRCLE, the most perfect geometrical figure, was used in medieval music to indicate
perfect time,tempus perfectum.
C THE BROKEN CIRCLE, an imperfect figure, was used to designate imperfect time tempus
imperfectum.
C The modern version of the broken circle, suggesting the letter C, is placed in the Time
Signatura to indicate 1.,, ,;.;,
Practise this PREPARATORY EXERCISE before playing "Cuuntru Gardens'!
Play thfl three-note groups with finger legato, tossing off each group at the end of the
slur sign. There are three sets of fingers given. Each set should be studied. Practise
first each hand separately, then together, an octave apart.
a4.6
f = t
t a
2
& a
2
t8 1/"2
~
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i!
4,

1 11J o, 10JJ' !JtJ:3, 10j J, ll@J, ll@j, IP

::...::.,...,, 1~ 8~ 1~ 8 1 o 4,
1 ey 11

121
1i f f 2
8 '
6
f 'li i
'
Country Oardens
Old English Morris Dance
Lively

From the Morris Dance Tunes, Set 1. By pel'mission of Novello and Company, Limited.
W.M. Co. 6770
iO
BALLET is a pantomime telling a story in dance and music. The ballet is often introduced in an opera or stage
piece aided by spectacular scenery and costumes. It is not necessarily part of an opera but may be complete in
itself. "Dance of the Hours" is a classic ballet which was written for the opera "La Gioconda" by Amilcare Ponchielli,
an Italian composer, who was the teacher of Puccini. The opera was first performed in Milan, April, 1876.

The scene is laid in Venice in the 17th century. La Gioconda, a beautiful

1
street singer, is loved by Barnaba, a spy; but she spurns him because she is
in lave with Enzo, a Genoese nobleman. In revenge, Barnaba incites the
people against Gioconda's blind mother, accusing her of witckcraft. The
mother is saved by Enzo who, having incurred the displeasure of the "coun-
cil," is obliged to disguise himself as a fisherman. In Act 3, the grP.athall
of the Ducal Palace is filled with.masqueraders for the ball. The Duke an-
nounces the ballet in which the dancers, costumed as the Hours of Dawn, Day,
Evening, and Nigkt, portray thlit,struggle between day and night. In the
finale, the hours of light conquer the hours of darkness.
Radio Cltg Mu.de Hall Corps de Ballet

,aoiaa Ir
Preparatory Exercise

1,1 n@
PHRASING: Ability to phrase gracefully is absolutely necessary
to good piano playing. It not only adds style to your playingbut
11
also gives life and animation to the music. t 2 3 3 .¡. .¡.

Dance of the Hours Ponchielli (i884·i888J

Moderato 5
1¡/.

5
1

W. M.Co. lí'.170
 WRIST STACCATO ·u
Prelude

o Christmas Carol
SOME of the carols sung at Christmas time are older than folk-music.:. The word "caro!", ~
in the early centuries, meant circle-dance; a form in which the dancers sang to their own ~
accompaniment. Caro! dances were used for various festival seasons, New Year's Day, Easter,
Christmas, etc. In medieval times, dances used by the nobility were called Carolles. This
beautiful Christmas Caro! from Hungary should be played joyously. Try to make it suggest
sleigh bells and in the gay spirit typical of the Yuletide. Play the left hand with wrist staccato
and in the right hand be sure to make a distinction between the sustained chords and the
staccato chords (wrist ).

j '
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Cheerfully
,
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5
W:M.Co.5770
12 THE PEDALS OF THE PIANO

"Una corda" or
Soft pedal - - - - - - - - - - - - - - - - - - - Damper pedal
Sostenuto pedal

HE modern Grand Piano is equipped with three pedals. The pedal on the right is called the
T DA.MPER PEDAL hecause when pressed clown it raises up all dampers off the strings, thereby
permitting all strings which have been struck to continue vibrating. In other words, prolonging
the SOUN.Dof string-s affectetl.
The pedal on the left is known as the SO:FT PEDAL. lt gives a softer and lighter tone. (Although
it functions differently on Uprights than on Grands). It is usually indicated in music by the words
"una corda ...
The Middle Pedal (on all Grands) is called the SOSTENUTO PEDAL. lt sustains only such keys
as are held down at the moment the pedal is applied. In many Upright Pianos the Middle
Pedal is constructed so that it may he used as a PRACTICE PEDAL. When in use, a strip of felt
is lowered between the hammers and the strings, thus deadening the sound and also the quality of
tone.
f'or the present, we shall $tudy the use of the DAMPER PEDAL only. In the e-arly part of the
pupil 's career it will be used for sustaining purposes but later on, it wiUbe studied and used for colour
values as well.
There are many dijferent .ngn.,to indicate when Press
down
and where a.nd lum, long to 1tse the damper pedal here

but in this boolc the f ollm,ri.ng sign will be em-

ReleaR
ployed througlumt. here

Play the following example, using only the third finger. Apply the DAMPER PEDAL as indicated.
LISTEN to the result !

Note how pleasant the sustained effect is to the ears!-because all of the note., are re'latedand forma
chord.
 1' 0 j JJ J Iw~ [E 1
13
Now play the next example,
fingering and pedalling as indicated. (B)
. 3838 3 38

This time the effect is blurred and very unpleasant beca use the notes are not related and form a series
of dissonances annoying to the ear.

Pl•y al,o the following examples. .•(C) 0 j ~

14, 1 !! 1
lt is evident to the ear that Example C is pleasant hecause only chords of the .rnme hm·mony are sus-
tained together.
Example D binds together, by use of the pedal, chords that are different harmonies and the effect is
a tonal jangle of harsh sounds.
lt is quite ohvious therefore, that great care must be used in applying the pedal. One's playing
can be enriched or marred by its use. Fortunately, at this stage of advancement, it is simply neces-
sary to follow the pedal markings stri<'tly as indicated and correct results will follow.

THE SYNCOPATED PEDAL

The pedal should be applied, not at the moment the keys are being pressed down, but immediately
afterward. The reason ior this will become clear after the pupil has advanced further along the
road to pianism. For the present it is suffl.cient that he forms the habit of pedalling after the
keys have been struck. This is sometimes called "syncopated pedalling/' The following exercises
will be found helpful.
EXAMPLE 1
Count "ONE a.nd TWO and THREE and FOUR and" etc.
Pedal down on "and"-up on the numerals (1, 2, S, 4)

t
ll.H.
1~2~8~4~ 1~2~8~4~

1~" J J J J 8 8 8
IJ 8
J J ~
8 8
,1
8 L___J L_'.:.J L__J ____ _. L__J L__J

EXAMPLE 2
Count "ONE, TWO, THREE, etc.
Pedal down immediately after "ONE" in each bar.
Release pedal as you say "0:IS'E"in each bar.

11

Teacher's Note: It is advisable to have pupils practisie left hand alone with pedal in all examples em-
ploying pedal until its use hecomes automatic and instinctive. This is particularly helpful because
in the earlier grades the pedal is used mostly f or the purpose of sustaining basses. Only the most
elementary pedal effects should be attempted during the study of this book.

W. M. Co. 5770
i4

4
-- ,_
~

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/

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To tJevelop technical /li+ency- u;;e John Thompson's ".n,r,t Studie, in Styze:'

 .- . 5- 4 !1 1
.'
2

l
I

'~ -- '
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poco ri't.
i6

THE PEDAL WIT:iI ARPEGGIO GROUPS

Use the pedal exactly as marked in the following example.

The arpeggio groups should be rolled rather than fingered and tossed from one hand to the
other. '
Follow the marks of expression and try to make a colourful sketch oí this exercise fromDuvernoy.

Etude
J. B. Duvernoy
Moderato

5
 :11
LEFT HAND ALONE
1'.IIA.OE.BR'sNOT.8: This short college song is presented purely as a recreation, and is notan
essential part of the MODERN METHOD FOR THE PIANO. From the pedagogic stand- point, its
study will promote better left hand control, since the LEFT HAND is requir.ed to play both
melod9 and accompaniment. Incidently it offers an example for a pedal exercise.

Bill Grogan's Goat

(Humgresque for Left Hand '"B.lone) College Song
.. JJ,
Moderato
/
- - •• I '
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...
-- -
-.
~

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.,
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• • •
:1.Bill Gro~ gan's goat was feel - ing fine,
~ 2. The whis - tle blew, the train drew nigh,
1 -- -·- - -- -- - -- ,- -·-- --. - ••
- ~

\ - ,.. 4 ,-- 1
- I.C.

m ''2 1 1

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t) • • • 5• • ~ .. 5
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't - Ate three red shirts from off the line;
-- Bill Gro-gan's goat was doomed to die;

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_ Bill took a stick, gave him a whack,
- He gave three groans of a•v - ful pain,

i - ..- ili,,. ,.

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-
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the rail - road
and flagged the
.•

W. M. Co. 5770
{8 THE PEDAL IN CHORD PLAYING
n the following piece the CHORDS should sound as though they were playedon achurchorgan.
I This means that each chord m.ustbe as sustained as possible, that is, one chord must be
connected to the next by meaos of the PEDAL. 1
NOTE THE NEW PEDAL MARKI
This sign is used to show that the PEDAL is
released and pressed down again immediatelu
in order to preserve an unbroken legato.
12=
1~
thus-
f f ~ f
L.____.A..__A,_¡\__J
1 11

S~metimes
w11l see a pedal
mark like
you
this--
19:"p
..__--+--+---'-1--~-,....___..
~
r IF f IIOrthe word
Ped. may be
usedliketlrls--
F b
1;,:" b F
~ 'fro. 'fro. 'fro.
Always rem.ember that all three markings have the same meaning.

In Church
i'\
Andante,~stenuto e semplice
-
j .- ., --
- - .. =
t. 2~ ~ 2-6 2,B, ítt .e,
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=
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W. M.Co. 5'770
 cARL CZERNY (pronounced Chair'ne) was born in Vienna, Feb. 21, 1791.
His father, who was a music teacher, taught him to play the piano, and later,
he received instruction from Beethoven. At the age of twenty-five, a European
concert tour was planned for him but there were so many disturbances because
of war in Europe, that the public appearance was abandoned. He, therefore,
decided to devote ali of his time to teaching. His success was remarkable and
among many noted artists to receive their training from him was the celebrated
Franz Liszt, the greatest pianist that ever Iived. As a composer, Czerny pub-
lished over one thousand works of which his many studies for the piano have
been used steadily year after year. ··,;,
Be careful to observe slurring the chord progressions.
Play the passages in semiquavers with clean Jinger legato.

A Frolic in Velocity
Allegro C. Czerny (adapted)

- - - - - -- - - - -..-,...,
A .u.
- - - -
....
-.. - -
- - - - -- ...
... -
... -- .
/

1 • - --
... ,-
- ~
~
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,.

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t.
'
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'

.,/i'or/urtkerdevelopmentoffinger legato- use Joltn Tkompson's "Tite Hanon Studies'.'

W. M. Co. 5770 .
20

T HE minstrel show was definitely an Ameri-

can form of entertainment. Minstrel com-
panies were made up of a cast of men who
blacked their faces, dressed in gaudy costumes,
sang negro songs, played banjos, danced taps,
clogs, etc. Dan Emmett, the composer of Dixie
was a member of the Virginia Minstrels. Ste.ghen Foster wrote
Old Folks at Home and other of his famous songs for Christy's Min-
strels. About 1870, when minstrelsy was exceedingly popular, a
coloured composer, James A. Bland, wrote this beautiful plantation
melody which has been sung by the greatest artists in concert and
over the radio.

Carry Me Back to Old Virginny

Introduction James A. Bland.
Moderato
1

5
L.H.
poco rit.

5
22
Thumb UNDER the 3rd Finger

Hand in NORMAL Hand position with thumb Jlight HanrJ Bxercise

five-finger position UNDER the third finger

141J J J IJJ J J J IJJ J

123
1 3
'1 a 13
1

Reverie
Andantino

.. s 3 ' .,,_
4 8--,
• -,,,..
2
1 1 2
-
1 s 9-• 5 ... ' 5 ...

1
. ,1
~ ~

V
,.,, o..
11
. -· ~

. J. . -· :1.-· -.....___,,,,
'
. ...
....
'

t" ppa tempo

p poco rit.
,.,
i .-..
2' ...
1
,,
1

.
o.. ,G . ..,..r-.
• v,- -
--...___,,.
.. -- '

-· -
~.

- - . ;:;

--·
V 1-' i ~.
\ ' - -
ti V-

5-6 •

NOTE: See page 89 /or supplementary e:i:ercises. Tkorougkness in smootk passage playing is necessary.
 23
3rd Finger CROSSING THUMB

Hand in NORMAL Hand position with

Left Hand .Bxercise
five-finger position third finger OVER thumb
> > > >

1 1 CEr.1 ~
t>= S
r:E CCr J r E
S
I
S
I O
3
1

Puck

W. M.Co. 5170
24
Drédéric Fran~ois Chopin was born in él village six miles from Warsaw,
"
r Poland. His father, a Frenchmal'l who had come from Nancy, was a
captain in the National Guard. He conducted a private school for the sons
of the Polish nobility where Frédéric received his early education. His mother,
for whom he entef'tained profound love, was pure Polish. She encouraged
him at an early age te study music 'and he advanced so rapidly that, at the
1
age of nine years, he played a concerto at a public concert. After the concert
he seems to have been more concerned about bis new collar than the effect
his brilliant playing made on the audience for he remarked to his mother:
"Everybody was looking at my collar."
In 1831, Chopin went to Paris to make his home. It was there, in the
drawing-rooms of the French aristocracy, that he fascinated his hearers with
that wonderful playing which earned for him the name, The Poet of the Piano.
Hé was never of robust health and ch'.tringthe last years of bis life bis frail
body broke under the strain of his concerts, teaching and social activities.
He died in Paris at the age of 39.

Prélude in A Major
Chopin (1810-1849)

rit.

W. M. Co. 5?70
 SCALES IN EXTENDED FORM 25
Thorough familiaritg wit!,, acalea means óetter /ce11óoard technique

SCALES should now be practised in extended form- that is, NOT DIVIDED BETWEEN THE
HANDS. Continua with the preparatory exercise on page 89 unti1 the hands can be passed
over smoothly.

Ascending C major scale Descending C majar scale

R. H. Semi- .,,. Semi- Semi- ... Semi-
tone tone tone tone

t a 8
L--J
t 2 45. 4 a t
L_J
3
JJ
2 i
11
Fingering Thumb 3rd finirer
under ov~r
Semi- Semi-
tone tone·
Se~ : : Se~

~ frIE[ ft 1ft [ ~ 1§
L.H.

Fingering
E
4 s 2 G l_j 2 s
3rd finger Thumb
over under

Rules and Gu.ides for the fingering of all the scales are shown on the the charts, page 86.
New scales should be studied at the direction of the teacher.
When the scale in extended form has been mastered, each hand separately, it is advisable to
practise the hands together first in contrary motion, since this causes the same fingers to
be used simultaneously in both hands. Later, they may be studied in parallel motion.

THE C MAJOR SCALE IN CONTRARY MOTION

THE C MAJOR SCALE IN PARALLEL MOTION

W. M.Co.&no
26

1'
..(
9

"{ TARIATIONS on a theme frequently enhance

V"' the beauty of the original air. I't>is claimed
that the Elizabethan Virginal and lute players
established the first steps. Beginning with Haydn
and Mozart and developed by Beethoven, the com-
posers Schubert, Schumann, and Brahms, ali have
written examples which students of music will enjoy
as they progress in piano playing. This little old
time waltz, written many years ago by an Ameri-
can composer of teaching pieces exemplifies the
popularity of variations of that period.

Starlight Waltz
C. S. Brainard
Tempo di Valse
-. - 1
--
-
5 > - /
- >- -
- ,,
/" l

.-
" J.¡ ,.;
-- ,, . - -
/
.,,
i, • t.)
--
.
'
'
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,/
~

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,,,, --
1
r-1

1 1
-
)~ ,¡~ /
j
"!f i
.L..'-••
- ..""" ...
...,.
... ...
l- 1- ... ... ... 1 ~ h· 1- • 1-
.'
t-
.. .,,...- . -lt-- -.-""'
t-

1'
' -
I < I
,

-
, -~

5
~

3 -5 -
 1

4 1 2 1

Set a good tempo and keep it intact.

A waltz in : time is played considerably fas ter than one in f.
Note the accent on the second beat which·occurs very frequently.
The last Variation may require separate practis-e fo, the right hand. The groups of semiquavers
. should be cleanly fingered and rolled off at the end of each phrased group.
Pedal only where marked. ·.
 21

TEACHING THE MINOR SCALES

There are two ~stinct approaches to teaching¡:,the MINOR SCALES;

(1) the RELATIVE minor; (2) the PARALLEL minor. Although each
method has decided merit, teachers differ in the choice of approach. For
that reason both methods have been presented in the following pages and
either may be used according to pref eren ce.

WHY DIFFERENT METHODS ARE.USED

Teachers who use the RELATIVE minor approach do so because the
key fÍgnature remains the same for both major and minor.
The PARALLEL minor approach is used because it causes less com-
plication in the matter of fingering-especially in the WHITE KEY
MINORS, where thefingering remains exactly the same as in the PARALLEL
MAJORS. However, the pupil should finally know BOTH approaches.
For instance, af ter having played G rnajor, he should be able at once to play
either G minor or E minar with equal facility. A debate, therefore, on the
merit.s of either approach is rather useless.

HARMONIC MINOR FIRST

In the opinion of the author it seems unwise to attempt teaching ali
three forms of the minar (to the average pupil) at once. An old rule: "One
thing at a time," is quite applicable to minor scales Experience preves
that if the Harmonic form is learned first in all keys, the result is one of less
confusion and more perfect mastery, both analytical and technical, on the
part of the pupil. Afterwards, when the scales are being reviewed for the
second time, the other forms of the minor may be taught, thus showing
the evolution of the minor scale from NATURAL to MELODIC to
HARMONIC.
See chart on pages 86 and 8 7.

W. M. Co. 5770
30 FORMING MINOR SCALES
The Belative Minor Ápproach
Every majar scale has a ReZative .Minor scale.
The Relative Minar scal1:, begins on the sixth degree of the Majar scale.
There are three forms of the minar scale, namely NATURAL minor, MELODIC minor and
HARMONIC minor. For the present we shall consider only the HARMONIC minar.
The Harmonic Minor is formed from the (Relative) Major Scale by raisingthe Se11entl,, note
(of the minar scale) one semitone
,,.--_

CMAJORSCALEJ,e; J ucJIJ # ffl I O ft Q 1~r f i 11

1 2 8 4 5161 7 8•
1.2.J •
• . .
¡
•.
¡ •¡. ffJ
•
l
7
¡.
•
i ¿ 8 4 5 6 :::-- 8

Tone and a sem.itone

A MINOR is reZative to C MAJOR.
The fingering for A minor is the same as that for A majar .
Observe that the minor scale employs the same notes as the {Relative) majar scale - e::ecept
the seventk, which is raised ONE SEMITONE
A minor key has the same signature as the Relative Major Key.
5

D mlnor

4 3 2 1 3 2' 1 2 1 3 2 1

e mlnor

54 3213 21 1 3 2 1

NOTB TO TBÁCKBRS: Teachers who prefer to teach all three forms of th,e m-inor scale at tMs po-int sJ,,oula
use th,e ch,art on pages 86and 87. ··
 FORMING MINOR SCALES 31
Tñ,e Párallel Kinor .Approacñ,
Every major scale has a .Parallet .Minor scale.
The Parallel Minor scale begins on the same note as the Major scale.
There are three forms of the minor scale, namely NATURAL minor, MELODIC minor and
IIARMONIC min~ir. Fal" the present we shall consider only the HARMONIC minor.
The Harmanic Minar is formed from the (Parallel) Majar Scale by lowering the Tll.ird and
8ixth detfrees olne semitone
,·~

C MAJORSCALE
J 11

i
C MINORSCALE
(Earmonic) 11

Tone anda semitone

e minor is p.aratlet to e majar.
The fingering remains the same as in the major scale.
Observe that the lawered notes always occur at the point where the thfrd fingers play to -
getáer. (This rule will hald gaod for the first five WHITE KEY minar scales, i. e. C, G, D, A, E.)

G minar

5 4 3 2 1
'ª .2 1

E minar ®
..
'

5 4 ! 2 1 s 2 1
3.2
MAJOR and MINOR MODES
Note that the First Theme of this piece is in the key of C majar and that the Second
Theme is in the key of A minar, relative to C majar. This is but another illustrationofthe
1
Law of Oontrast- the first law of all Art.

First Theme
Allegretto

SecondTheme

Suggestions fo1· Supplementary .Material- use Jol,,n Thompson's ''./i'irst Studies in St11le:•
W. M. Co. 5770
 4

First Theme

>.

f
34
4th Finger CROSSING THUMB

No . .e. For t!,,e.Left Hand 1

19:.,y s r:'cr 1; ,ee e 1; 'Cr:s I J 4
41

PREP ARATORY EXERCISES

No. :l. For th,e llight Hand

14" FQ !l p s¡OJ I o I Q •º~ ~ 1 f · ¿11

The Sky Pilot

Moderato
4,......--- --....,,,
" - -- - - --.
4-
--
- - -
~
-
4
-
,_
- --
4-
- - - -.
- - -- -
/ ~ . ¿
~

1,t.
r .,. • •
'1 -- 1 1
-- - -- 1

m::p
1-e- !,Sl- -e-
jt L .... :::;.

-
'!ir-
- - ,!!r
-
I'-
-- '
\.
-
.,
••
"
-- u
u

- I'
 Preparatory Exercise
Wi\h st,iot!ega~ 1t.,~ •¡·········~···,
11:~·: :

Hide and Seek

Allegro moderato
5

-
¡

See page 87 for origin of melodic minor scale.

iW.M. Co. 5770
86
A Study in smooth FINGER LEGATO
Old Frenc'h Melody
Allegro
i t

1
,. D i . - - -
li li
1 t
5
.,,,

tJ - """""--1 1

E
- ~ •,:;
-
f
..... -
- ..

T is frequently claimed that the national music of

Igypsies.
Hungary is really the music of the Hungarian
At any rate, the Hungarian composer,
Franz Liszt, wove the gypsy music of native folk-
tunes into fifteen Hungarian Rhapsodies. This type
of music is characterized by abrupt changes in mood
and rhythm and, therefore, has tonal effects all its
own. In the following example, be sure to play with
marked contrast, the opening theme, which should be
played in a slow tempo and melancholy mood, and the
fiery second theme; a theme which should be alive with
animation and dash.

The Gypsy Camp

Vety slowly (sad and melancholy)
5
____.. -
( - - -- ..... --- '
¡I\ ~
41

---
- ... -
.... ,.
-. ...
- ~

•
ll

-
A

-- - - n
....
- -....__--
-
·-
-. \

} t.
m;p
1 r
-
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-,, ..,
lt --·- 6 •P.
. -~ -'1

, - -· - ,r
A
~ ~

~
·~

~ ~

.
" ~

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5
- JJ,
.,,,.
¡I\
- . o----"

- --
I
-
.
-.
·- -
~

-- \

-- -- .
.... ,..
~

-- -
~ ·1

't
•
t. 1
f
1
-1

l" &..
- -·
•• -
,lt#
l"':J

...
~
,., ,:J
r~
~
·.-,
~-
--..,
~ ~

Sqg,ation11 /or SupplBm1ntar11. Hat,rial- U88 JoAn TAompson's "TA, Eanon Studies!'

W. M. Co. 1'1'70
I
-
1,.- . -·
j\ JJ, 4,
- -- "'' .. - -· ~..

- -. -.
.., _, ' '

r - -- -- -
~
_,
- 1
- -
< " p
- ..,
,t - ....
....
.__
~
~

-~
~

-~
,,. -"'l
-
n
·~ ~
-.n
·~
(11::,

-
'l. -
Very fast (with fire and dash)
> . . >
- JJ, - ~
- - "---
11\ > . --- - - .
8
.
-. -. - - -
~
1
-
--
I
.., _,
-...-. .,..
)"
n _,

,,.
-
~

'\.'
1
1
f
--. --.
>.
l - -·..-
""'·
-,
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-
....
15
--
·--
-
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-
'
...
.
- ...
... -
.

> > > -

- >.
,,.
I

-- n-.
'
11\ .LI,
- .,_ -
~
1

-..... -.
':"
'SI
~

.
-
¿

--
2

- _,
-. -. -. --.
_, -
ftc;.,
" 1

ifz
/ -.......
-
--··- --
.
--
. --
> >

1
.
>.
- - ...-'
>.
.,.
TI
--

,, . - - --
I

---
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~ .LI,
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>.

1
.
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>
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---. ---.
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n
>1

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" 1 1

.- -. -.
'·
t > >
1
L

-
- ,.. ,.

- .
-
>
-
....
~
-
... - - -
...
.
-
.... .... - -
-.
~ ----.
1 1

Presto
 RAND OPERA is a play set to music in which the characters act and sing their thoughts instead of speaking them.,
G "Don Giovanni" (Don Juan) was written the great Austrian composer, Wolfgang Amadeus Mozart. The
by
story by Lorenzo da Ponte is based on a version called The Stone Guest. This great opera was produced for the first
time in Prague in 1787. There are two acts and the plot is laid in
Seville during the Seventeenth Century.
Don Juan, a gay Spanish rzoble,riq,n,and his mischievous servant,
Leporello, are always making' people unha'ppy. Don tries to press his
attentions on A nna, the beautiful daughter of the Commandant, who un-
expectedly arrives. They fight a duel; the Commandant is killed while
Don Juan and his servan/ escape. The townspeople erect a statue in
honour of their dead commandant. While fleeing along a deserted road,
Don Juan, meets an old s'IJ)eetheart,Elvira, who reproaches him but he
escapes, leaving her alone ./:itk Leporello. We now find the gay cavalier
in his palace flattering a beautiful peasant girl, Zerlina. He orders a gala
festival and we hear the strains of the "MINUET", that graceful and
courtly dance oj the incomparable Mozart. Don Juan attempts to run
away uiith Zerlina but is prevented by the appearance of A nna in search
of the murderer of her father and Elvira who seeks revenge; Don Juan
again takes to his heels. That night, near the statue of the slain com-
mandant, Don and his servant plan other schemes. Suddenly, the statue
speaks, warning them to mend their ways. Ftippantly, Don invites the
statue to dine with them. During the banquet, a heavy tramping is heard
on the stairs. The statue enters the room, Don Juan seizes the marble
hand when instantly the floor opens and demons drag the wicked Don
Juan down amid flames and lightning.

Minuet f rom "Don Juan"

Mozart (1'768-t79Ü

8 4
8
I
•
' u
- - il
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-
-- - --· - -
1~-
..., --
-
~

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1
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8
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-
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'
.
-. -- -
1
11!.

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-
...
·- • -1 - - - -· - - ~
- -
,..,
...,
-" ~

.-
_-::;;

--
--:e
.--
-·· - ..
,IJ., - '"' -
'
1 1
3.___J../1 •5 3 1 2 3
5-41, 1
15
1

5 5 5 5

W. M. Co. 6770
 .,..,

2 t -2
40

frhe MAZURKA is a lively round dance and one of the national dances of Poland.
Remember, that in all dance forms, rhythm is of paramount importance. Keep a steady, 1
even tempo and observe all ACCENTS.
This piece is in the key of Á JJfINO.R- relative minor to O ma/or.

A Little Polish Dance

Mazurlca
Allegretto
1 >

5
. 2.,,,,--- --.......,
---...
4 > :::::>::
,
-
1\
- 1

- - ,-
- - - - --
4
-..
. - -- .
~tt.
·~
'"' I
1
< .
i: .. I= ª= e:,¡~ ·1=:
/ -.-·
.. -
- - - - -.~ - -

Animato
- -- - -- - -.. -- -...
>

,,
/
1\
..-- ' •-- --
'
>. 3
' ' . ,
-
>.
-~ ...
...
;
--
..
' ' '

•
¡t - ..
t.
~ ..
- ..-
.,,
=?'" >. >
1

>
:s: ..;-;--~ ll.- ., - '
:;:: >
•- .-' .. -
>
•
\
•.
-
'
•
-- .. - '

..
.•
5
1 ________
.... ..____i

W. M. Go. 57'70
 4:1
ETUDE
A little line over a note,
11
Allegro
-. 4, 8 • 5
Adapted from Kohler thus f means SOST.EN-

....
4, li
UTO, (well sustained)
-.
...... --·
'ti - ":"
Give to these notes your
1~
_ best singing quality of
- tone.
1 -:-
6 .. 3
:2 1, U N
·v
-
5
.- In the following e:x:ample
play the scale passages
11 l
- 5
"'
! ,!..,.11.. c(f!;.

-
withsmooth finger legato
and try for as much con-
trastas possible between
t)
- .
----1!:~!: :a:
legato,staccato amiB08ten-
uto.
Always
li - - - Be
Careful
to keep wrist rela:eeel
The Hare and the Hounds

Additio-nal sea le e:r:ercises will be found on page-90

W. M. Co sno
 Try to play "Off We Go" as gracefully as possible.
Preserve an even finger legato and toss off the end of each phrase, indicated by the curved line .

Preparatory Exercise
The following exercise should be practised daily until the chords lie comfortably under the
fingers and until the change can be made without effort.

Off We Gol
L. Streabbog
Allegro grazioso

Chromatic scale

'\ u
- ,.. • .,
f 2
' .. - ~
- .-
-
,_
....,._....,._.....
- - -- - -
/
~
-'
~
., ...,
1 : ,1
• ~ ~
I I

' t,l

n-----_ -·
- .. -
--· -·..
' -•
r,
. ..... ..e •
•
.
1
-- .
I I
,
'-'·

"
1L

T
"
 p

2 5

2 1 2
.
8 4 5 4
44
Up-arm stroke and arm impulse

his tune is quite characteristic Two Preparatory Exerci~es

T of the gypsy life in the old
days of Russia. It all ofthe rhyth-
has
mic features and t he spirit of the
furious dances so typical of the
Russian peasants.
It should be played.withafree,fiery
abandonemploying sharp accentsand
sharp staccato.The aooentedchords,
..
No. 2. For t!,,e Lejt Eand
coming as they do at the end of a

1fff rH I E.O'~·
·¡2=R ffl E!fl r•CEf'
short phrase, should be played
with decided UP-ARM strokes. Be 11
sure to play the repeated chords 3 132 132 321 321
that follow with one-arm impulse.
Use pedal sparingly.

Dark Eyes
Russian 0ypsy .Dance
Folk Song
Animato

>

'
-
~
~

r
1
11.

I
--
' "'
-- -
·- -
-. I
~
l

·- -...-.
- -
' ~
1

--
'
4.....-

-- - --. - ..
-T - --
--
'
e.. 1
T y l -

--
:::;,,-
.,,_
~

..
- ..
- ... -
'
--
' -
·- -
'
... -. - "·
-' -'
... ,
-
---
-
11, I

- ""
~

V 11

-5
,. ~

5 5 ,1
3
 5

4
2·
~

,,..
.-- - .. -.
1
"
-
... -
V

_,
>

--
1
a
\

~--
- .
-- -- - '
2
>.
.-
.,,...
..-
- - ,~ ,...:.
-.
~-
V ~
~
" ...
.
t. ll l ...! ~

- -
'·

-- f
..... ifz
-.. --
L. • >
.-"'
,.

.. ..
"
1
-. -\ ...... ~, >

-...
,.
, -
~

·-...
--
' In

' t.
..
51
,.
.. ·-
1 2
:¡:
5
46
CADENCE CHORDS
hat a period (full stop) is to a sentence, a cadence is to music. In other words, a CAJJENCE is the
W end of a musical sentence.
The principal TRIADS of the scale are those found on the FIRST, FOURTH and FIFTH degrees.
They are important because they are tke ckords used in forming CA.DENC.ES.
These chords are named TONIC, SUB-DOMINANT and DOMINANT as shown below.
Sub-
Dominant Dominant
'Tonlc 1~ rr
:j J J
I 2 a IV - V 6 7 8
11

5
~ a 5 1- 2 -------- .......
2

--
/ , 1

~ ~
t "
J :

Tonic Triad
...- - ....
1st Inversion
-
2nd Inversion
- L. H.

t ~i,- .... !:
~ :;.:: ;
\ - '
1
-
5 3 5 --
53

Sub-Dominant Triad L.H.

3
1st Inversion 2nd Inversion

L. H.
1
1st Inversion 2nd Inversion

2nd Inversion L.H.

Tonic Triad 1st Inversion
 --
a
2
.
..
2_-
a ,.,
.-"- .
- --, 1
-
1
/
~ ·-
, 't. I
.......--
·-
_.....
r -
-- --
L.H.
2nd Inversion

jt - ~ ,.
..-
Tonic Triad
(minor)
1
- ,,_ - ...
1st Inversion

- ... b~
' ~.
-
1
s
~· 8

Sub-Dominant Triad L.H.

8
(minor) 2nd Inversion

Dominant Triad
(Same in minor
as in major) 2nd Inversion I

Tonic and Dominant Chords

Familiar Cadences

~1::
;;1; 1:: 1: 1:: 1: 1 i1~::
IV I
1:¡;-:
:-:1:1:-: 1:1IV I IV
,.
I 1V i tV t iV t

Tonic and Sub-Dominant Chords

l'
1~: ;I :IV 1;I 1:
I
: 1:I I!I IV
!
IV
1:I 1 ~I~: : : : 1: 1: : 1 I! t tv 1 1 iv
~
1 1
!!
iv
1
1
1
Tonic- Dominant and Sub-Dominant Chords

: :::1:1::~:1:~ :: 1:11
1e:: I IVIV
,1
I I IVI V I I IV I V
á
I
~1~:::
;::-:1:1:::-:1:1::1:1
i iv t V
,1
i i iv i V
~
i i iv i V
~
i
fiind ~nd t;nd ~nd ~nd ~nd
Inversion Inversion Inversion Inversion Inversion Inversion

W. M. Co. 5770
4:8
CHORD ANALYSIS
Here is a study in CHORD ANALYSIS.
Write the name and inversion of each chord in the following example. When you can play the
Preparatory Exercise, follow with the Etude showing the chords in broken form.
Preparatory Exercise
f¡ i ~ ~
.
I
- ... --
-
1
--
,, .-,...- - ...-- , : -- ..
1, r V' 1.1 • .I

•• - u '-"
(!. ~ U'

li -... ·- . ,,, , ·~ "' 1

,,
1

~ ..
' Wnte name
V 11
1
r,
,
\.;
.,
-
~

-8-
of each chord ··································································-··················································································
,
Etude
Moderato

ffr¡r furtll,er development of tke rolting attack- ·use John Thompson's "The Hanon Studies'.'
 49
The Chord of the DOMINANT- SEVENTH

you have learned that TRIADS on the 1st 1 4th and 6th degrees of the scale, TONIC, SUB-
DOMINANT and DOMINANT are called CADENCE CHORDS.

I 2 3 IV V 6 7 8

~ r,~F
l.~J ~
--
'
11
Sub- IJom.
Tonic IJom.

The TRIAD on the 5th degree, the DOMINANT, often appears with the addition of a minor 7th-
(1,3,6,7) and is known as the CHORD OF THE DOMINANT SEVENTH.

,..
,.
¿:··
. ••••. Added .Minor 1th,

Ohord of tite .Dominant-Seventh --

r•
,~ I
7
5
3
1
-
The minor seventh is a pleasing dissonance and adds a feeling of motion to the chord,since all
t...
dissonances are active in character and m11st move to a consonant interval before a feeling
of rest is secured .
BECAUSETHE CHORDCONTAINSFOURNOTES1 THREE INVERSIONS
ARE POSSIBLE

.Dominant 7th Ohord

and
TH.REE INVE.RSIONS ~ ~ .Root position
1
First Inversion
;.
Second Inversion
t
Third Inversion
11

.CADENCE CHORDS USING THE DOMINANT-SEVENTH CHORD

Play the following Cadences and note the feeling of activity given the Dominant chordbyreason
of the added minor seventh.

/ "-
---- -
-'""
K -,, --- ---- ...,
-- -
'
- -
-- -
•
-
~

~tt. ' I

•
,,

j¡ - ..
- - -I V- - -
1 1 1 1 1 1
&.. ... •

I -
,,,
' .,
I V7 I 7 I I V7 I

¡E. ..
THE DOMINANT-SEVENTH IN ARPEGGIO FORM

"JJJ~1~r.,c1cc,r.1f~s0 1.V
5 • '

11
3 3
.l. H. 6
4 ,. 4

Examine the pieces studied thus far in this book and see how many IJominant-Seventl,, Cl,,ords you can locate.

r,_ ----
50 •
L udwi,1 van Beethoven, one of the greatest of musicians
was born Dec. 17, 1770, in Bonn-on-the-Rhine,
Germany. His father, a tenor singer in the village choir,
was very cruel and used to beat the boy sometimes when he
did not practise. His mother was kind and patient. Her
death, when he was seventeen years old, brought him
sorrow which he never seemed to forget. When still a boy,
he was made assistant organist in the cathedral, a position
which he held until 1792. He also played second viola in
the theatre orchestra. One day when he was on a visit to
Vienna, he met Mozart who was so impressed with Beet-
hoven's playing that he exclaimed: ''He will give the world
something worth listening to."
Beethoven loV'ed to wander through the cool forest,
listen to the voicesof nature and compose his music in such
surroundings. At the age of thirty. he began to grow deaf
and in later years, he was unable to hear his own com-
posi tions.

Romanze
from stk Sonatina
Beethoven (1110-ts27)

: 1
1~,f
s

,¡ h

- ---.......
5
/

lt
...- -
~
~ .1.1,

"
-
~

-s
l.i
•
- '
,-
3 5..---
-
~

-I -
·~

-- - ----
5
~

....
-
-I

•
t. ' Id.im . 1

·i ,,,.,-
t ~- .•
... -
""' ,_ - - '
.... - - -
, •
- -
~
r-
1*-
-• ..,
-
- -
1

-
~ ~

·::
'\ ~ ..,,
2 4
5

A Grace Note is a little note"used as an ornament. It has no time value and should be "flicked" into the
principal note which follows as quickly as possible. It is always shown as a small note with a slanting
Une drawn through its stem, thus, Jr.
W. M. Co. 5770
 51
ALLA BREVE

When the TIME SIGNATURE shows a line drawn through the broken circle thus, ~, it is called
Atta Breve time and·it indicates two counts to the bar with one count to eack minim.
Learn the following example first in four-four TIME, i. e.,four counts to the bar and one count
to each crotchet. When it has been perfectly mastered, increase the tempo counting but two to the bar
and one to eack mi'nim.

Scherzino
Vivace

See glossary on page 88 for the meaning of Scherzino.

W. M. Co. 5770

.Llszt at the age ot J4.
Couriu,, "Th, Musical Quart,rly"
ranz Liszt, born in Raiding, Hungary, was a very delicate and sickly boy until _h
1
F reached the age of six. Then, one day, while his father was playing a Concerto ¡~
the piano, little Franz carne up beside him and implored him to repeat the last movem{
over and over again. "What would you like to be when you grow up?" aske<;lhis fathe
lighting his pipe. "That man there!" said the boy pointing to a picture of Beethoven
The next day his father began to give him lessons. Franz spent hours practising ~
scales and made such rapid progress that he played in a concert by the time he was ni
year.s old. The performance was so brilliant that everybody wanted to meet him and si:
of the nobles present raised funds to send him to Vienna for study with Czerny. Late
"littl~ Liszt" enjoyed a greater triumph fer, when Beethoven heard him play, he was,-·
amazed by Franz's wonderful technique that he went to the stage, grasped the child, a
kissed him on the forehead.
Because the little village of Raiding was rather isolated, it became a camping place
for wandering gypsies, who, as they arrived in their wagons, would pitch their tents
the square. At night, amid_ the blaze of great bonfires, the men with violins and cymba·
and the girls in brilliant coloured dresses, ear-rings, and necklaces, would dance and sing
the rugged folk-tunes of Romany. Little Franz would drink in these weirdly abrup1
rhythms and melodies which later became so evident in his famous Hungarian RhapJ
dies.

Theme f rom LiebestraumeNo.3

.A .Dream of Love

Liszt (i8U-i881.,
Andante
A o

1
\
:,,
~
~: ., : •
,,,..¡i-• -·
.¡¡,.• .....___.....,
.. ....
- -
l

- -'
¿1 mp...•·/ --======= 11 _____ ,
._ ,e I _,
-. , ..,
1
\. -- . :
- ••• 1

;"'
2
-·1 1
Is - 2
..
·-
11

5 5
__¡, _______ ..,

a tempo --=====

__¡,.,.______ /..
..___ __.
 ere is an example of sudden and abrupt contrast in mood, typical of Slavonic music. Note
H that the first theme is played very slowly and in lyric style- which is to say, intheman-
ner of a song. It is rather pensive in character. But at the double bar it suddenly bursts into a very !
excit.able dance, played Allegro. The dancers w.hirl about gathering more and more ímpetus until ,,
the bar marked molto rit.- (muoh ritard) is rea ohe d. Here in one bar the tempo slows down to that of ...
the opening theme and the pieoe ends on the lament with whioh it began.

A Little Slavonic Rhapsody~

-... - _-----..__
.
-- .- . ,. -... -
!...-..__
I
•
..
1\
~

V
... - ~b,. 8
• -
- L
L-
/
- - " -'
1

--
-
.-
,
,..---_
- .
!#
-
- -.
!_J,

1, t. . ,

.
J. -

'·
-~ :
2-1
- . 1
I'
\
-- ..
-
.. -- V
ª=
,-

-
~

u
..
-
h.
-
u
~
-- ---- --
-
'1 1 1 1 1 1

con brio
 >

}¿: -. >
4 4
1
' .. -- ,,
.- -- - -
"' '
-
... - -
~
1
V

~~l
• - -
1
- - -
-- - - -
~

... -.
L
-.,o..
~ ... - --
f
>
-. >
-
'
-,
1 ~

-"' ....
\
....
.
' -,

4
8~

.-"' " --·

1 1 1
1

- - -- -- . .- -
-f
~

\ •
- - - -
...
~

t) 1 l r Is
-
~I
~I 1 1

... -
1

-.. -~
1, di111,.e 111,o!torit.

'
L

e,
O

u
- - ---
.. ----
- - --- '

1 2 3

W. M. Co. 6'770
 IS6 1
ORATORIO derives its name from
his sermons on Biblical history
the oratory (a chapel in a church) in which a monk, Fillipo Neri, used to delive
during the Sixteenth Century. These discourses were illustrated by sac{''
songs. The modern oratorio consists of solos, duets, broad majestic choruses and recitatives with ful). orchesd
accompaniment. It is distinguished from opera by the absence of action, costumes, and scenery. Usually thi
story is based on sorne text from the Bible. In the Eighteenth C
tury, Bach, Handel and Haydn developed the oratorio to its high
standard.
The }.fessiah was :,vritten by George Frideric Handel, a Genr-
composer, who spent ii'.iany years in England and who lies buried
Westminster Abbey. The story concerns the prophecies and coh111
of Jesus. It is said that Handel wrote this long oratorio in twentJ
four days. When a great choir sang the Hallelujah Chorus at a ~
formance of the Messiah in London, King George II and his nobL.
rose to their feet to show their reverence for this great music. Tb
entire audience stood up with him and to this very day, it is custom,
for an audience to stand during the singing of this chorus.
Oratorio al /he Bach Fesll&•a/

Hallelujah Chorus
Allegro Handel (1sss-1 n

5
1
•
 Etude 5'.
.Roll the left !,,and groups.
,., 1

,
1
()
mf
• ---- ~
~ ~
<l ~ ,,,...---.
.. , ---- 1

5 r 7
- -
5 ' 3

SkippingThroughThe Forest
3~3

~
t......__.,.____
_ __.____~ _ _.._______,

.•.
~

t~gi¡~~ª~~~i~~~~~~ªªªg@~§~E!~~
Suggestions for Supplementary J/atert"al- use J"oltn Tkompson's ''First St-udies t"n Style."

r. M. Co. 5770
 58 ARPEGGIOS
(Broken Chords)
1
A broken chord is called an Arpeggio.
Arpeggio is an Italian word roeaning "in the style of a harp~
Arpeggios exist in roany forros but small hands should be restricted to arpeggios in closed
forro- that is, chords that reroain in the octave position- until sufficient stretch has been
developed to encoropass the crossing called for in extended arpeggios, smoothly and easily.
The following forros will be füund very beneficia! as well ai affording interesting practice .
.Rl!LB FO.R FINGB.RING: 1st, 2nd and 5th fingers always used bybothhandsinallpositions.The
use of the 3rd or 4th finger is governed by the stretch involved. If there is ontu one white
key between the note played by the 5th finger and the next note of the chord, use the fourthfinger.
When there are two wltite keys lying between, use the third finger.

Practise with well articulated finger legato.

Il. H. 5 4 5 3 ff
5 5
3 5 4 5

This forro should be practised with the Rolling Attack and sharply tossed off.

14§ Jn,p,,¡Ej,, ¡fu.~ 't zlQFJ

n 1%/., ,
L.H. 5 4 4 a

~· [q}n ¡(pffn ¡g1c) n éi.[!n

n ¡¡f1c) I
4
1

' ·i¡· .. :•. 2 s--------··-··--·

11

Practise in various keys as directed by the Teacher.

"I" ..., ,.,_ .,,__ _
 Étude
H. Berens
Scherzando
~
.
1

Étude
Carl Czerny

5 8
80
Preparatory Exercise
hen playing this exercise roll the ARPEGGIOS from one hand to the other and try to play
W them so smoothly and
evenly that the passages 5
s
•
1

•
5
1 5
1

will sound as though they

were played with O.NEhand.

Hinkey,Dinkey,"ParleyVoo"
Arpeggio Páriations
The doughboy he went over the top
Be cause he had no place to stop 1
From gay Paree he heard guns roar
And all he learned was "je t'adore~
World War Song
anima .
•
•

5
 ---------Preparatory Exercise--------~ 61

Deep River

Andante espressivo

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W. M. Co. 5770
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Scherzino

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over
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TRIPLETS
T .B,Jp L./IT is the name given to a group of T .B.R./1./1notes that are in tended to be played in the
time ordinarily given to TW'O notes of equal value .
3
l___J _) J J
For instance:-THREE quavers played in the time of TWO quavers,
or
3

J__J_) = J J
THREE crot1:_!1etsplayed in the time of TWO cro!,chets and so on.
In the following example there are triplets applied to scale figures.
Play this example with clean, articulated finger legato. It is fine practice for developingevenness
of touch.

Grandpapa Jonathan
Diatonic figures in Triplets
Allegro
~
-- s - . .
- -- - - - - -
8
-
-

---
, -
.--
/

---
A

-~ -...
~ / :...e·

1 e.' il

---- - - - - -....J._./
- - -..... -.__JJ_./ /

1
--1!,_./
p
- -·..---
1 - ,
- ..... = -.
ce.·
-..,_._
-.
-
-",-i
" 5-iJ. 5-4'- 5 5

1
5
For addilional ea:ercises in articulated finger legato- use Jol,,n TAompson's"Tlte Hanon Studies'.'
r• .M.Cn. KIJ'IJ'O
66
eorg.. Bhet wa, bom in Parl,, OctoW 25, 1838. His mothec taught 1
G him the rudiments of music when he was only four years of age and he
was sent to the Conservatory before he was nine. He won the Grand Prix
de Rome when he was nineteen and while studying in Italy he submitted,
L:istead of the prescribed Mass, an Opera which was highly praised. He
was a remarkably fine pianist although he did not perform in public. His
fame and renown rest upon his two L'Arlésienne Suites and the opera,
Carmen, which placed him in the front rank of modern French composers.
The example following is from the first act of Carmen and shows the scene
wherein Carmen sings and danc~s in her attempt to captivate Don José, a
Spanish captain of the guard. '"1\.Habanera is a Spanish song and dance :
which really dates back to Africa by way of Cuba. It was first imported
into Cuba by negro slaves after which it naturally found its way into Spain.
As in all dance forms rhythm is uppermost. Note the alla breve TIME-
which means two counts to the bar and one count to , each minim.
Learn it first, however, in four-four time. Let the staccato· be sharp and
hrittle and do not overlook the two-note slur in each bar.

Habanera from"Carmen''
Bizet (t.sss-18'75)
Ttl M .Co. 5'1'10
68

The Bee and the Clover

Allegro giocoso

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By permission of The Boston Music Co. owners of the copyright.
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'.70
Broken Chords in Triplets

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A Trial Flight
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Animato

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 11
THE TRILL
The TRILL is an ornamental figure which is very effective when well performed. It consists of
an alternating shake between the principal note (the note written) and 'the next note above. The
early keyboard instruments had very little sustaining qualities and the Trill was used originally to
give the effect of a long, sustained tone. The number of notes played in a Trill is entirely optional
with the performer.
fr-
This is the sign of the Trill,
r
Played

1
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Allegro
A
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 t
72
TRILL STUDY
rl
Play the trill figures in the following .R.H. Preparatory Practice 1
example w'ith close finger action. The ,:J.j ; t 2 t 2 t 2 t ~. at 2 a 1,. 1 ~ p ~
nngersshouldactuany"ride"thekeys. E n ~
1@1 CrCrrss~1essrrc;rr1CrCF

, - -
"1JJ,
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s
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...
1
-
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s
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1
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---------------
'.74

Russian Gypsy Song

Presto
4
4 8

••
•

Slowly
1
 --------------------------------
AO

PREPARATORY EXERCISE
Learn to trill first in semiquavers
like this. Later in semiquavers like this.

The waved line (-)

r1: eiLj
~,~,:~~ E:
after
~,-~:cr;r::r
Ir indicates the duration of the TRILL.
1

Birds
85;.::.:::::::···¡····--·--:
• 2
. ~
1
5

32

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·. M. Co. &'1'10
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Presto
4
8

Slowly
76;.,__________________________________ _
PREPARATORY EXEROISE
Learn to trill first in semiquavers
like this. Later in semiquavers like this.

C:r,: E:!,j
~1:+:~:
The waved line (-) after Ir indicates the duration
~,s::
:h;r::furE:r
11 1
of the TRILL.

of the Birds

82

~ ..
•

8 5...-........_
··------···················-·,
4 :
• 2
• 1

82

W. M':Co. ano
 acques Offenbach was born i.n Cologne, Germany but atan early age settled in Paris and became a naturalized
J Frenchman. At the age of fourteen, he joined the orchestra of the Opera Comiqueas a cellist. He originated
a rather individual style of comic opera known as opéra bouffe many of which, together with his ballet pantomime,
were produced in his own theatre, the Bouffes-Parisiens. His greatest work, the Tales of Hojfmann, was produced
a'.fter his death. The first performance was given in Paris, Feb. 10, 1881.
The poet Hoffmann and his studentfriends of Nuremburg, are making
merry in the tavern while he tells of his three unhappy love adventures.
The scene changes, Hoffmann is given a pair of magic glasses through
which he sees Olympia, his first love, who is in reaUty a beautiful
mechanical doll. He pleads to dance witfi her and they walts so madly
and rapidly that H offmann Jalls in a swoon. Tlie glasses break and he
learns that his love was an illusion. In the next act (in Venice), he
discovers his friend, Niklaus, with a captivating lady, Giulietta,
seated in a gondola, singing the "Barcarolle" in the mystic moonlight.
Hefalls in love with her,fights a duel with his rival, and kills him but,
to the bitter disappointment of Hoffmann, Giulietta elopes with another.
He then goes to Munich and wins the heart of the lovely Antonia, a
delicate singer with a wonderful voice, whose doctor warns her that if
she sings she will bring on a fatal illness. The wedding of Hoffmann
and Antonia is setfor the next day. In her happiness-she sings and
falls lifeless in her father's arms. The "Tales" are ended, the students
depart and Hoffmann, sad and lonely, is consoledby the Muse of Poetry. Olvmrla., the ºª""'"'Do/l-Act 1

Barcarollefrom Tales of Hoffmann

Play with a swinging six-eighth rhythm
to suggest a swaying gondola drifting
under moonlight ,...a..
night in Venice. Offenbach (i8i9-i880)

W. M. Co. 5770
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5
80
Franz Joseph Haydn was born in Rohrau, Austria, in 1732. His genius
attracted attention when he was very young and he is often called the
father of instrumental music. In his early thirties, he enjoyed the patronage
and friendship of the wealthy Prince Esterhazy and in consequence, spent
much time in Hungary. While there, he developed a keen interest in the
music of the Hungarian gypsies. The composition below is an air from the
last movement of Haydn's trio for piano, violin and 'cello, very properly
called the "Gypsy Rondo". This music is characteristic of the Gypsy folk,
full of light·heartedness and the joy of living. All of Haydn's work is char-
acterized by simplicity, perfect finish, the avoidance of meaningless phrases,
and firmness -of design. Use clearly articulated finger legato in the right
jiand in playing the "Gypsy Ronqo" and do not overlook the occasional
staccato notes.
Hagdn 1111762
(From a painling b,, Long/to)
Courtcsy Brooklyn Mus"'m
Theme from Gypsy Rondo
Haydn (17a2-1sos)
Presto

/""
8--------------------------------------. ---. ---------------------------·------------------,
4 ,.---5

W. M. Co. 57'10
 ROTARY (or Rolling) ATTACK 8:l

In t'he following examples, the groups in semiquavers should.be rolled r ather than fingered. Keep
the fingers close to the keys and roll the groups inward and upward, tossing off sharply on the
last note. This gives a "sparkle" not obtainable with the usual finger legato.
Prepar atory Exerc.ise 5

~~::~'l;.1!!·1;.1!'!~
l
Allegretto
Marchof the Onomes
5 5 llotl
1 2 >

2
5

llotl
 RECITAL PIECE
1

Will o' the Wisp

.. 2

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 Jocularity

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2 3
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 5 5
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 Scale Fingering Chart
SCALES BEGJNNJNGON WHITE KEYS SCALES BEGJNNING ON BLACK KEYS
Right Hanf,l
MAJOR SCALES
The Thumb falls on the FIRSTand FOURTH
notes of the scale. Right·Hand
Fourth finger on B\1 (or A#).
Left-Hand
The Thumb falls on the FIRST ~nd FI FTH Left Hand
notes of the scale. Fourth finger on the 4th note of the scale. Begin
with THIRD finger.
FINGEB GUIDE
THIRD FINGERS OF BOTH HANDS There is one exception to the above rules-
ALWAYS PLAY TOGETHER. the major scale on G\1 (or F#). For this
scale use the rule of TWO'S and THREE'S,
i.e., whereTWO BLACK KEYS lie together,
There are two exceptions to the above rules-
use the fingers 2 and 3. Where THREE
the scales of B major and F major. They
BLACK KEYS lie together use the fingers
are fingered as follows:
2, 3 and 4.
B MAJOR-Begin with FOURTH finger in
the left hand. MINOR SCALES
F MAJOR-End with FOURTH finger in B\1 MINOR } TWO'S and THREE'S in
the right hand. E\1 MINOR BOTH hands.

FINGEB GUIDE
(for exceptional scales)
THUMBSOFBOTHHANDSALWAYS
PLAY TOGETHER. A\1 (or G#) MINOR-Fingered same as
MAJOR.

MINOR SCALES
The WHITE KEY MINOR
Right Hand
Scales are fingered exactly the
D\1 (C#) MINOR FOURTH finger on the
same as the WHITE KEY
2nd note of scale.
MAJOR Scales.
Left Hand
G\1 (F#) MINOR TWO'S and THREE'S.
 The Three Minor Forms
SHOWING THE EVOLUTJON OF THE MINOR SCALE

O MAJOR SCALE &

tkgree
1
'

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no '9:g;22ft~,.
611' ,e. .O.·"--

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11

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J o ~I O O no ()o(~ 11

NATURAL MINOR FORM: This is the oldest form of the MINOR

SCALE. Beginning on the 6th degree it ascended and descended on
exactly the same notes contained in the RELATIVE MAJOR SCALE.

AMINOR

SCALE 6th and '1thraisetl . .Descends same as the Nalural

form

RELATIVE
MELODIC MINOR FORM: This form appeared at a la ter period.
TO It was felt that in order to establish the "feel" of the tonality in A MINOR
a leading note (raised 7th) was necessary. However, the skip of a tone
C MAJOR and-a-half (from the 6th to the raised 7th) was unpleasant to ears not
accustomed to such jumps. To obviate this, the 6th was also raised one
SCALE semitone. Since a leading note is not necessary in descending, the MELO-
DIC MINOR scale descends on the same notes as those that make up the
RELATIVE MAJOR Scale.

() o
nº"ºººl~~o ()
o 1~ 11
EZi.,raised
HARMONIC MINOR FORM: This form is most frequently used in
present day music. The 7th degree is raised one semitone, both in ascend-
ing and descending.

W. M. Co. 5770
90
Passing the Thumb under the Fourth f inger
./light Han(/

~ ···3····
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Tlie Chromatic Scale

10

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12

13

Wrist Staccato (Sixths)

./light Hand f f

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Printed and bound in Great Britain by
Caligraving Limited Thetford Norfolk 5/97 (27794)
 Qertífícattof roerít

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Date ••..••.•.................•