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    John W Schaum Progressive Piano Technic

    Uploaded by

    Nidanur IŞIN

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    © All Rights Reserved
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    JOHN W. SCHAUM —Progressive PIANO TECHNIC pee es Two Volumes | Containing | 50 DIFFERENT | STUDIES BY 50 convo DIFFERENT COMPOSERS | /BOOK ONE No. 1 to-25 ‘Belwin, NS Mill rusishingcor. MELVILLE, N.Y.11746 eo : JOHN W. SCHAUM | ————— Progressive ———— PIANO TECHNIC Two Volumes Containing 50 DIFFERENT STUDIES BY 50 DIFFERENT COMPOSERS BOOK ONE No, 1 to 25 Bebwin, NMillsroiseecoo MELVILLE, N.Y, 11748 >| PEPPSSEEESESTSSSSISS : Foreword Winrdestgniog there neo volimes ce ciametecinte Mr cranes ate compiled fifty different studies by fifty different composers. The slogan “fifty by fifty” describes the plan in concise language. One of the important factors in technic is equalization of the hands. In adapting and abridging these various etudes Mr. Schaum has carefully distributed the technical problems between the right and the left hands. By becoming acquainted with a wide variety of etude writers the pupil not only acquires technic but he learns the development of the etude form. Just as it is important for pupils to be familiar with the great classic writers, Bach, Chopin, Mozart, Haydn, and others, they should also come in contact with the great stream of etude writers. Mr. Schaum has made an interesting survey regarding these technic writers. Out of the fifty composers represented, thirty-five are advocates of tuneful technic, five favor pure finger gymnastics, and ten are for a combination of the two. In the two tables of contents, an asterisk after the composer's name indicates pure gymnastics, the name in italics denotes combination, and the unaltered type indicates tuneful technic. SETTESEEEEP STEEP ETE CTE EE STEPPES STEP EES TS EES OTES |? $$O$SSS$$S4$9SFS9S9SSSF $e4| SEPPSSPPPSSP DP SD PPD PPP DOS TE DESDE PD PPP P EPP PO DEPOT PD PPE DOS. Copyright 1949 by Belwin, Inc,, New York, U.S. A. FAL. 367 \@ SP FESSFSFSSSSPFSFSSEFESSPSESSOSOPPPPEP OOS | CONTENTS BOOK ONE Composer Number Technical Purpose Page Behe, Franz 25 Bringing Out a Hidden Melody 32 Bertini, Henri... u Trill Study 16 Beyer, Ferdinand 3 ‘Hand Rotation on 2-note Patterns 6 Biehl, Albert 5 1 Finger Legato Zea Concone, J. 23 Finger Extension 30 Duvernoy, J.B. 16 Individual Finger Articulation 21 Godard, Benjamin 22 Left Hand Melody 28 Guclitt, Cornelius 2 Hand Rotation on 3-note Patterns 05 Heller, Stephen 1B Continuous Passage Playing ae Hummel, Johann s 5 Independence of Hands Kalkbrenner, F. 19 Close Finger Technic Kleinmichel, Ro Elbow Rotation Kunz, Konrad 9 Polyphonic Playing Lebert, Sigmund 14 Melody with Flowing Bass 19 Le Couppey, Felix 7 _. Wrist Flexibility : = n Lemoine, Henri 7 ‘Sustained Finger Fleetness 22 Liw, Josef 5 Accenting Last Phrase Note 20 Oesten, Theodore B Study in Expression 18 Pischna*, Johann 10 Transposition Technic 14 Pleyel, Ignaz 6 Technic of the Turn 10 Stamaty, C. M. 24 _----Rotation Over the Thumb 31 Streabbog gr Bounce Phrase Release 27 Turner, A. D. a 20 Broken Thirds 2 26 Masten 72 Rotation on 5-note Patterns 7 Wieck’, Friedrich 4 Unison Study 7, CONTENTS BOOK TWO Composer Number Technical Purpose Poge Berens, Hermann 26... Broken Chords... ae Burgmiiller, F. Clementi, Muzio Cramer, J.B. 27 Czerny, Carl 4 Dussek, J. L. a 34 Haberbier, Ernst 37 Herz, Henri... rah 29. Hunten, Franz : Kessler, Joseph 49 Kohler, Louis 35 Kullak, Theodore LET) Lichner, Heinrich 31 Marimontel, A. F. 30 Mayer, Charles eo Moscheles, Ignaz 4 Neupert, Edmund 38 Nowakowski, 8 Plaidy, Louis 33 Raff, Joachim a2 Schmitt, Aloys 28 Schulhoff, Julius 46 Steibelt, Daniel 7 Tausig®, Carl a : Thalberg, Sigmund F.L. 367 pee —Interweaving Hand Technic Chromatic Passages Contrasting Legato and Staccato ~ Strengthening We Ee Fingers _Left Hand Flexi Mised Phrase Groeps ‘Study in Shading _.--Interlaced Broken Chord Study 32 Hand Co-ordination 31 Velocity Figures 14 ‘Wide Skips 20 Sustained Passage Accompaniment 10 ‘Study in Dynamics 8 Lightness of Touch ae Weight on Accented Tones 2 Double Third Technic See Rotary Accompaniment —. 2 - 30 Contrary Motion 2 _Three-note Phrase Groups 2 Finger Brush Staccato mC _. Held Melody Notes 27 _ Broken Chord Accompaniment 28 Legato with Held Tones Se Tremolo Study . Ae ®) 1—BIEHL (Finger Legato) Albert Biehl (1835-1899) studiedatthe Leipzic Conservatory in his native Ger- many. His career consisted of teaching and of creating instructive piano music. Allegro ? . Copyright 1949 by BELWIN, Inc, New York, US.A. E.L. 367-29 International Copyright Secured Lithographed in USA. 2S3GURELET (Hand Rotation on 3-note Patterns) Cornelius Gurlitt (1820-1901) studied with Reinecke in his native Germany. He became professor of music at the Hamburg Conservatory. It was through his ed- ucational piano studies that he gained enduring recognition. Allegretto EL. 367 3—=B EYER (Hand Rotation on 2-note Patterns) Ferdinand Beyer (1803-1863) was a renowned German composer of piano-teaching literature. He also arranged many operatic melodies for piano solo. Allegro ; a ed E.L. 367 4—WIECK (Unison Study) Friedrich Wieck (1785-1873) was the father of Clara Schumann and the teacher of Robert Schumann. His home in Germany was a favorite gathering place for artists and musicians, Von Bulow, Merkel, Spindler, and Kraus were pupils of Wieck. ELL. 367 Moderato Rin cn epee ee staccato 5—-HUMMEL (Independence of Hands) Johann Hummel (1778-1837), an Austrian protege of Mozart, was a brilliant virtu- oso. He succeeded Haydn as conductor for Prince Esterhazy. Two of his famous pupils were Thalberg and Henselt. Theme Moderato of Variation 1 ea 4 . wt | Variation 2 E.L. 367 Variation 3 Variation 4 Variation 5 oes 2 Variation 6 ae 24 4 a ELL, 367 10 v 6—~PLEYVEL (Technic of the Turn) Ignaz Pleyel (1757-1831) was the founder of afamous European piano manufacturing m. Besides manufacturing over 100,000 pianos in his lifetime, he wrote twenty- nine symphonies, forty-five quartets and much piano music. Chopin played on a Pleyel piano. Allegro 2 E.L. 367 uw ZaLELOOU REY (Wrist Flexibility) Felix LeCouppey (1811-1887) studied at the Paris Conservatory in the land of his birth. He spent the greater part of his career teaching at the Paris Conservatory where he wrote his fine piano studies. Andantino 4 ELL, 367 12 / 8S -KLEBINMICHEL (Elbow Rotation ) Richard Kleinmichel (1846-1901) was the son of a German bandmaster. He studied at the Leipzic Conservatory under Moscheles, Plaidy, and Reinecke. In 1882 he was appointed music director at the Leipzic City Theater. Allegro 2 et, °367. as 9-KUNZ (Polyphonic Playing) Konrad Max Kunz (1812-1875) was co-founder and conductor of the Munich Choral Society in hisnative Germany. He is chiefly famous for his 200 Canons which were highly acclaimed by Von Bulow. Moderato a, we E.L. 367 14 10—PISCHNA (Transposition Technic) Johann Pischna (1826-1890) studied at the Prague Conservatory and became an out- standing Bohemian pianist and composer. He taught at Moscow for several seasons and wrote educational piano music. Moderato ig sempre legate E.L. 367 .L. 367 16 1f—BERTIN I (Trill Seudy) Henri Bertini (1798-1876) received his music education in France from his father and from his elder brother. He made a concert tour at the age of twelve, and, in his lifetime, wrote more than 200 compositions. Allegretto 3 ue E.L. 367 12=VOGT (Rotation on 5-note Patterns) Johann (Jean) Vogt (1823-1888) of German birth travelled extensively as a concert pianist. He taught at St. Petersburg from 1850 to 1855. In addition to piano music he created oratorios and chamber music. Con moto . 367 17 18 1IS=OESEEN (Study in Expression) Theodore Oesten (1813-1870) is a favoriteamoung the German writers of instructive piano music, His successful teaching career enabled him to create his valuable piano studies. Andantino 3 ce PP (echo) | | PP (echo) E.L. 367 19 14—LEBERT (Melody with Flowing Bass) Sigmund Lebert (1822-1884) was a German whose real name was Levy. He helped found the Stuttgart Conservatory andwas co-editor of the famous Lebert and Stark publications. Moderato E.L. 367 20 x 15=E OW: (Accenting Last Phrase Note) Joseph Léw (1834-1886) was a successful Czech concert Pianist. He toured exten- sively and published over 450 numbers of educational piano literature. Allegro ww 21 16>DU VERN OY (Individual Finger Articulation) Jean Baptiste Duvernoy (1800-1880) was a successful French music teacher who resided in Paris, He published several hundred piano pieces of an educational na- ture, Allegro 1 5 4 8 ‘ eT E.L. 367 ee ee a 22 17—LEMOINE (Sustained Finger Fleetness) Henri Lemoine (1786-1854) was a French composer of multiple talents. He was trained at the Paris Conservatory and not only taught, performed, and composed, but entered his father’s music publishing business besides. Moderato, 3 £ ELL. 367 23 24 18—-HELEBR (Continuous Passage Playing) Stephen Heller (1813-1888) of Hungary was a boy prodigy. He played successfully in public at nine years of age. Brauer and Czerny were his teachers. Heller is considered one of the finest writers of piano studies. Vivace 5 of ELL, 367 (Close Finger Technic) r | 19-KALKBRENNER Friedrich Kalkbrenner (1788-1849) was a German child prodigy. At theage of five he played a Haydn Concerto for the Queen of Prussia. Ten years of his later ca~ reer were prosperously spent in England, He also wasactive in Paris music circles. Allegro ELL, 367 25 EL 20:2 TORIER (Broken Thirds) Alfred D. Turner (1854-1888), an American composer, concert pianist, and teacher, was born in Maine. He taught at the New England Conservatory and at the Boston College of Music. He died when only thirty-three years old, Allegro mech a a 367 21-—STREABBOG (Bounce Phrase Release) Streabbog (1835-1886) was the nom de plume of Jean Louis Gobbaerts. Gobbaerts spelled backwards is Streabbog. This energetic Belgian published about 1200 pieces of piano music in his lifetime. Adagio 2 27 sL. 367 28 2226 ODARD. (Left Hand Melody) Benjamin Godard (1849-1875), famous French composer, was, in addition to being a master pianist, an expert violinist. He won first prize in composition in a Pa- risian competition, His works rank high in quality. E.L. 367 Allegretto 29 EL. 367 23-CON CONE (Finger Extension) Giuseppe or Joseph Concone (1810-1861) was a famed Italian teacher of piano and of voice. For a period in his career he was organist of the Royal Chapel in Turin. He lived and taught in Paris from 1832 to 1848, Moderato E.L. 367 31 24-—STAMATY (Rotation Over the Thumb) Camille M. Stamaty (1811-1870) was born in Rome. He received his music training from Kalkbrenner. Stamaty was the teacher of Saint-Saens and Gottschalk, Allegro + + i ELL. 367 32 25 DEER (Bringing Out a Hidden Melody) Franz Behr (1837-1898) was a German writer of educational music. His compo- sitions also appear under the pseudonyms: William Cooper, Charles Morley, and Francesco d’Orso. Nivo2

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