26

rfir a
- rfir:zrz

Go back to the sign * and repeat one octave higher to the end.

MACHIAVELLIAN EXERCISES*
These two exercises are difficult. However, following your acceptance of the preface—(b)
and (c)—take pleasure in the difficulties encountered.
The Machiavellian exercises are hard, but do remember that it is really concentrated
stuff. You will find just one of these bars wrapped up in many a pretty nineteenth-century
study. But the practice—and the mastery—of that one bar was really the point of the
whole study!

MACHIAVELLIAN EXERCISES-I

2
.111/.or
.

•111/iiI ^ =11

3 4
'MINI I MI!'7 ^r^.t =^^ . r ^^I
.^r.t ^a I ^^.t ^ ^.t ^r^ ^^
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G7

5 6
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:.^i^=S^
vr^ 1^^■ -^----^--^^^-^^^ í^p°i^ I
^iI

*Machiavelli (1469-1527): A Florentine statesman who had a reputation for craftiness

and guile.1


27

9 10

11 12
a W•■1•W all.11■7 I
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15 16

17 18

19 20

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21 22
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23 24

25 26

27 28

29 30

31 32
28

33 34

35

Repeat Nos. 1-20 one octave higher. Be sure to finger E flat with the first finger aff, and
use the D sharp key for E natural. In case of difficulty, some E flat exercises can be found
in VOL. III—ARTICULATION.

Now repeat the exercise as a continuous study; i.e. without repeating each bar.

MACHIAVELLIAN EXERCISES—II

MACHIAVELLIAN EXERCISES—II is more difficult, but it can be fun. Roll your

sleeves up and go to it, but always remember to practise it with:
(a) clockwork evenness
(b) correct fingering
(c) good tone.
eMl tow y c^
2
I . . ta»^
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3 4

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15 16

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17 18
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23 24
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25 26

27 28
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II

29 30
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31 32

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33 I,` 34

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35 36
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30

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1
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Repeat Nos. 1-26 one octave higher.

Technique: examples of difficult passages abound; you will find three examples at the
end of the book.

Now repeat the exercise as a continuous study; i.e. without repeating each bar.

RELAXING
Choose some paperback books of the same thickness as the width of your hand. Lie down
on the floor with knees raised and slightly apart. Place the books under your head with
hands and arms to the side. You will notice an arch in the small of the back; this will
gradually disappear. It usually takes about five minutes to assume contact with the floor.
As it does you will feel your spine becoming a little longer and will probably want to
move your hips down a little. Remain like this for at least ten minutes.
This relaxing position is used by many artists, both actors and musicians to loosen up and
relax before going on stage.
When undergoing long tiring hours of instrumental practice, you will find it helpful to
relax both during and after these sessions. It is particularly useful to counteract the
tensions which can result when practising technically difficult studies such as the
exercises for low C sharp and the little finger of the right hand, and the Machiavelliai
Exercises.

TRILLS
Most players avoid trill studies. They are difficult but most important for the
development of a fine technique.
Before commencing, note carefully the following points:
(a) even when playing slowly, move the finger quickly up and down. Pat the keys going
down and pat the air coming up!
(b) be really rhythmic in this exercise. Play exactly the right number of notes in the right
time.
(c) always make a good tone on both notes when trilling, especially when using the trill
keys or other `weak' notes. See also VOL. I—TONE.
(d) don't move the hand whilst trilling. See preface, note (d)