A FLETCHER towest ld, the Fata E McCain For CY individual and Class Lessons HM ay Jaa 72) BOOK FIVE OMERY MUSIC inc. BUFFALO, N. Y.BOOK FIVE THE LEILA FLETCHER PIANO COURSE FOREWORD ‘The several Books of the Piano Course are numbered consecutively, not to represent the various grades in music, but as a presentation of a continuous course in music education. The Piano Course is designed to meet the requitements of the average pupil, and is graded to allow the average pupil to make sound, steady progress, and to enjoy the immediate satisfactions of fluent reading. The material used in the Course has been tested by actual experience in teaching a large number of students, and the results apparent from its use ate: greater interest in music study, better musicianship, and fewer pupils who discontinue music study through loss of interest or through discouragement. ‘The Study of Music should be a delightful experience. Almost every child comes to his first music lesson with happy anticipation. The use of suitable musical material, logically presented, will undoubtedly advance the pupil’s interest in music, The Piano Course is dedicated to a four-fold purpose: the development of the ability to read music fluently and interpret it artistically, the establishing of a sound and comprehensive piano technic, the nurturing of the creative musical talent, and the fostering of a lasting appreciation of music. MONTGOMERY MUSIC INC. BUFFALO, NEW YORK 14202 Copyright 1954, 1974, 1982 International Copyright Secured Printed in U.S.A. : All Rights Reserved Including Public Performance for Profit Printed on high grade eye-ease, tinted paper Tift printing 64 pp. November, 1068.Contents Foreword Rondo a Capriccio ‘The Soldiers Pass Trepak ‘The Forgotten Melody. Blue Mountain Waltz Blow the Man Down William Tell (Fanfare) Old French Song Allegro A Sailor's Day Melody Wild Rider ‘The Troubadour. Jig Minuet Waltz, Phantom Parade L’Avalanche ‘ Preparation for Octave Playing Carnival : ‘The Washington Post March. Git Along Little Dogies O’er Hill and Dale Waltz in Thirds Butterfly Etude Album Leaf I've Been Working on the Railroad Valse Caprice Minuet Transposition (Keyboard Harmony) PROGRESS PAGES Octave Study The Bells Thistledown Arabesque Listen to the Beat! Chord Capers ‘The String Quartette Musical Terms Certificate of Promotion Beethoven Rebikov Tschaikousky Loeschhorn Traditional ‘Sea Chantey Rossini Tschaikousky Mozart Kohler Rubinstein Schumann Mexican Folk Tune Irish Folk Tune Bach Brahms Fletcher Heller Duvernoy Sousa American Gurlitt Czerny Chopin Grieg American Rubinstein Beethoven Czerny Bertini Duvernoy Burgmuller Fletcher Lemoine Concone 60 61 62Rondo a Capriccio (Rage over the Lost Penny) Allegro vivace a 4 eer Sie feee # ae ===-—— a et — fff — —fttts ot PIAA St sie tet * The thumb plays two notes, G and A. Players with small hands may omit the upper note, A. ©Copyright 1954, 1974 by Montgomery Menic Ine. nt Rian Reserved1 . RK «AF poco rit. |i fon a tempo (pe CoreThe Soldiers Pass Tempo di Marcia W. Rebikov SalePeter Tschaikovsky was born in Russia in 1840. As a child he had instruction in music, but he was educated for a clerical position, and although he was fond of improvising little pieces, he did not decide to make music his life work until he was about twenty- three years old. Recognition of his work as a composer came slowly, but surely. He became one of the world’s foremost com- posers. Songs, operas, ballets, piano pieces, concertos, and sym- phonies flowed from his pen. ‘The Trepak (Russian Dance) presented here is an arrangement for piano from the ballet “‘Casse-Noisette” (The Nutcracker). ‘The well known Nutcracker Ballet is based on a Christmas fairy tale. Among the dances in the ballet there is a Spanish dance, an Arabian, a Chinese, and a Russian dance—the Trepak. ‘The colorful ‘Trepak is a very lively, animated dance; notice that it is marked “molto vivace” Trepak > 2 i Molto vivace > ~~ FG Players with small hands may omit notes in brackets { ] P. Techaikoveky (arranged) Play the re hhand 8va tt it with right jughout.The Forgotten Melody Andante cantabile A. Loeschhorn,10 Blue Mountain Waltz Allegretto ‘Traditional (© COPYMGNT BY MONTCOMERY MUNCIE. RERNATONALCOPYMGT SECUREBlow the Man Down Con moto aVivace a2 1 William Tell FANFAREacy15 Old French Song ars Moderato16 Wolfgang Amadeus Mozart, the wonder child of music, composed this charming Allegro when he was only six years old. And at this age he travelled with his father and his sister, Marianne, to various cities in Europe where the two children gave concerts. Mozart's childhood home was at Salzburg, and here many people came to hear him play and were amazed at his phenominal talent. ‘The ALLEGRO must be played with particular attention to phrasing, It is a delightful, gay composition AllegroL. Kohler Vivace (adapted ) 518 Anton Rubinstein Moderato (adapted) 5 5 et mp cantando19 nf allarganto | cee = debates —— = t ———t ca = 12021 Wild Rider FineAllegretto ae‘raditional Folk Tune “Trish Washerwoman” ei er {© Corot BY MONTOQNERY MIC INE TERNATIONAL COFPmaiy REGED. Ls mana RESEND 5 t t i eteJohan: snes Brahms (adapeed)a ale ae Doe sSlurred staccato notes lose only one-quarter of their time duration. Written: f* ¢ played: YP YF T In the “‘cantabile” (on the second page of PHANTOM PARADE) full use should be made of the pedal to hold and to connect the tones, so that the hand can move freely about the key- board without losing the legato effect. Phantom Parade for Left Hand Alone Leila Pletcher Allegretto {= COFYRGHT BY MONTCOMERY MUSIC NE TERNATIONAL Coa SECURED ALL Rs RESENDA little slower cantabile 31L’Avalanche Stephen Heller Allegro vivaceon a atempa 2 5A | risoluto Players with small hands may omit note in brackots [|2d Preparation for Octave Playing 1. In this exercise, the 1st finger plays, the 5th finger is silent; do not play the notes printed in broken outline. ‘The hand is extended over the octave so that when the Ist finger plays, the 5th finger touches the surface of its key. Play slowly; hold each note long enough to look at the hand and see that the 5th finger is touching its key. The wrist and arm should be held loosely. (The tones produced will be non legaio, detached.) 2. The above procedure is now reversed, as the 5th finger plays and the Ist finger merely touches the surface of the key. The wrist must be loose, and the thumb neatly over its ke} cee: #4 Scales in Octaves 3. Play non legato, wrist loose, hands separately; later, hands together. 4. Play the Scale of C Major in octaves using staccato touch. (Later, practice also using legato touch; holding the note, then moving swiftly to the next note in the scale so that there will be the least possible break in the legato.) 5. The 4th finger is usually used on black keys, in place of the 5th finger. (ues +4 a i —" |} e aa on or WileCarnival J.B. Duvernoy (adapted 5 Allegretto . 3 i ue a 3 a4 i itt | eeJohn Philip Sousa, the renowned American band leader and composer, wrote a very large number of colorful, stirring marches. He also wrote several comic operas, suites, and dances, and many songs, but he is best known for his popular marches. ‘These won him world wide farne, and he became known as the March ing. Sousa was born at Washington, D.C., in 1854. He spent many years with the Marine Band, first as a player and later as leader of the band. In 1892 he formed the Sousa Band, and with it made frequent tours through the United States and Canada, several tours in Europe, and one tour round the world. The Washington Post MARCH John Philip Sousa * Players with small hands may omit the lower note of the octaves, and play the upper note as written, not 8va; the chord in the treble in the 7th measure should also be played loco (as written)