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SCHIRMER'S
LIBRARY
OF MUSICAL
CLASSICS
Jean
Baptiste
Cramer
Fifty
Selected
Piano-Studies
Systematically Arranged,
Fingering
and
Expression-Marks
Critically
Revised,
i
and
Provided
with Instructive Notes
by
DR.
HANS VON BULOW
Tronslotions by
ALBERT R.
PARSONS
and
B.
BOEKELMAN
Newly
Revised
by
DR.
THEODORE BAKER
IN
FOUR
BOOKS
(Also
in
One
Book
Complete)
Book
i
(Nos.
1-12) Library
Vol. 828
Book
II
(Nos. 13-25)
-
Library
Vol.
829
Book III
(Nos. 26-38)
Library Vol.
830
Book
IV (Nos.
39-50)
Library Vol.
831
(Complete)
Library
Vol. 827
G.
SCHIRMER Neu;
York/
London
Copyright,
1899,
by
G.
Schirmer,
Inc.
Copyright renewal
assigned,
1927,
to
G.
Schirmer,
Inc.
Printed
in
l)t^crra)U'e
of
a
svstt'iJiatic succession. Such
an one
was
not,
at least consistently, carried out by
the
author.
Moreover,
in
the
English
edition, the succession
of
the
numbers
differs from that
in
the
German. The
first-
named
edition,
which lay
before
us
in
our
work,
and,
indeed, as
represented
by
a
revisional
copy
provided
v,-ith
corrections
in
Cramer's
own
handwriting
(this
copy,
belonging
to
Mr.
Spitzweg. at
that
time at the
head of
the
publishing
house
of
Aibl,
served
as
the
standard
for
determining
exactly all signs of
time and
expression),
also
.contains
the sixteen studies supplementally
issued
in
Vienna
(surreptitiously
in
Hamburg),
which
have
been
comparatively
but
little
disseminated,
and the
chief
pur-
pose of which, evidently, was only
to
make
up the
ceremonial number
of
100. Accordingly,
their
non-con-
sideration
in the present edition
was
not prompted
solely
by their
character
of a private
domain.
For our attempt
to
remedy
this evil,
no
claim
is laid
to
absolute
approval,
since
individual
considerations
will
always play
a certain
role
in
instruction,
if the
teacher's
conception
of his
task
be not
bureaucratic.
A
second
chief c.iuse
of
the
qualita-
tive
resultlessness of
the study of Cramer's
Etudes
is
to
be found
in their over-gre.it
quantity.
The same
consid-
eration
in the c.ise
of
Clementi's
Gradus
ad
Parnassum
has
recently
induced the Court-pianist
to the
King
of
Prussia.
Mr.
Carl
Tausig, to edit
an anthology
of
that
work,
accompanied with valuable directions
for their
correct
practice, which is published
in
Berlin
by Bahn
(Trautwcin's), and
the adoption
of which, on the
part
of
all intelligent
pianoforte-teachers,
is
to be recommended.
With
correct
tact,
Mr.
Tausig
has eliminated
the
intrin-
sically
very
valuable pieces
in the
severe contrapuntal
style; for
the pianoforte-fugues and canons
of Clementi,
f.ir
from
offering
a fit means of
preparation
for
the Well-
tempered
Clavichord
of Bach, are
more
likely
to hinder
the player
by
leading
to
bad
habits.
For
Bach-playing
demands
preliminary studies which
must
be
sought only
in
other compositions by
that master
himself
with,
perhaps,
the
anticipation
of
pieces
by
Handel.* In
prepar-
ing
this
edition of Cramer,
all
pieces for practice in
which
no
perfectly definite
mechanical
end was pursued
have
been
similarly
culled
and
disposed
of
Perhaps
we may
even
*
As there.was once,
in
Florence
and at other Italian
universities,
a
Uante
f.iculty
(Boccaccio
was the
first
occupant of
this ch.iir of
instruc-
tion), the
members
of
which
confined their philologic.il
labors
simply
to
the enigma of
tiiis
mighty
sphinx,
so
there
might be
in
place,
in
high
schools of music, a
similar
specializ.ition
of the
stuily
of
tiie
German
intel-
lectual
giant in
tones.
Bach,
who
is
comparable
to
a Danle
only.
To
play
Bach
beautifully
and with
finish
is a
task which
the
necessary
cerebral
conditions
abstracted
is only to be
demanded
from
those pian-
ists
who
h.ive
attained
complete mastery
over
the
material, and
who
also,
for
example, no
longer
brokenly
stumble through
Beethoven's
last piano-
forte-sonatas.
Whither attempts to
assimil.ite
the
works
of
Bach
from
the
standpoint of the
pianoforte-chair
specifically
tend,
is most
alarmingly
shown
by
Czerny's
celebrated
edition
of them,
the
transitory,
merit o'
which
we
would
not
question,
but against
an uncritical
use of
which
aN
emphatic
warning must be
given
in
the interest
of a
true
understanding
o(
Bach.
Moreovei,
with
the
above
remark,
it is not
intended to
say
that
the
introduction to the
playing of B.ich (preludes
and
inventions)
may
not,
according
to
individual
data, begin even
simultaneously
with
tilt
study of
Cramer's Etudes.
ITM
I
MJNERAL
itBRARY
Of
THE
PERFORMING
lit
AMSTERDAM
AVENUE
8/11/2019 50 Selected Piano-Studies
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Fe
reproached
for
not
havirii^
proceeded
radically enough
and
for
having
given
too
much space to
repeated
repre-
sentations
of
that
which is
homogeneous.
To
this it
might
be
replied,
that
practical
e.xperience
demonstrates
the
ad-
vantage
of
such
readings.
Precisely
in
connection
with
the
necessity
of
acquiring
bv
pcrsevera'nce
any
special
kind
of
mechanical
expertness,
the
charm of
a certain
variety
in
homogeneity tends
to
refresh
and
stim'jlate.
on
the one
hand, and on
the
other to
promote
and deter-
mine,
and also,
occasionally,
as a
counter-experiment, to
instruct.
After several
homogeneous
exercises
only,
the
player
should always revert,
in
recapitulation,
to the
first
of
them. Respecting a
few
other
studies,
of which
the
mechanical
end is perhaps
still more
systematically devel-
oped
in
dementi's Gradus
coupled,
to
be
sure, with
greater
difficulties
it
may
be
remarked,
that
in
a
regu-
larly graded succession of
those
collections
of
studies
which
are
to be
employed
for complete
cultivation in
pianoforte-plaving.
J.
6. Cramer is
the
forerunner
of
Clementi. In this connection,
perhaps, it
may
not
be
unwelcome
to
pianoforte-teachers to see
indicated the
course of
mechanical study
which
the
undersigned
has
found approved
in his practice
as a
teacher.
The course
in
question
comprises
all the
studies, from
those
of
the
beginner
to
those
of
the
virtuoso.
After the
first rudiments have been
mastered, for
which
purpose
the
first
part
of
the
pianoforte-method of
Lebert-
St4
\k is most
to
be
recommended
as,
to
the best of
our
knowledge,
the most
substantial
help,
the following
are
in place:
\.
a.
The studies of
Ai.oys
Schmitt, Op.
i6, together
with
the
Exercices
Prep.iratoires
,
always
to be
prac-
tised in
all
twelve
keys
which form
the introduction
to the
first
book.
It
is
worthy of
mention that Felix
Mendelssohn-Bartholdy,
who was
an eminent master as
pianist also, laid
with
this
work
the
foundation
of his
classical technique.
h. in
contrast
to
the relative
dryness
of
Schmitt, a col-
lateral
use
of Stephen Heller,
Op.
45.
II. a.
J.
B.
Cramers
studies.
b.
St.
Heller: Op.
46
and
47.
c.
C.
Czerny: Daily Exercises;
likewise his
collection
of
studies,
entitled
the
Method
of Legato and
Staccato
(Die
Schule
des
Legato
und Staccato),
which,
strangely
enough,
has not hitherto
received
that notice
which
it
merits.
ill. a. Clementi;
Gradus
ad
Parnassum
'
(selection
and
elaboration
by
C.
Tausig).
b.
MoscHELEs:
Op.
70.
24
studies; a work more
widely disseminated
in North
than
in South
Germany,
which
unconditionally
deserves
the
predicate
classic '
I
v.
a.
Henselt:
Selected
studies from
Op. 2 and
s-
b. Together
with,
and
as preparatory
to
these,
Haber-
bier:
Etudes-Poesies ;
a kind of continuation of
St.
Heller.
c.
Selected
pieces
by
Moscheles:
Characteristic
stud-
ies
(Charakteristische
Studien).
Op.
qs.
V.
Chopin:
Op.
10
and
2s,
with which in.iy
be
asso-
ciated
the
study
of
the single
Preludes (of
a
special
mechanical
tendency)
from
his
Op.
28.
VI. Liszt:
Six
Etudes after
Paganini;
three
Concert-
Etudes; twelve
grand
Etudes,
d'execution
transcen-
dante.
VII.
a. Rubinstein:
Selected
Etudes
and
preludes.
b.
V.
C.
Alkan:
Selections
from
his
twelve
grand
Etudes;
for
the
most
part more
difficult
than
any
of
the
aforenamed.
Simultaneously
with
entering
upon
stage
III.,
Theodor
Kullak's
Method
of
Octaves
(in three
parts)
should
be
attacked
and
prosecuted
without
haste,
but
also
without
interruption.
This
extremely
meritorious
special
work
is,
in our
opinion,
irreplaceable,
and
it
most
justly
claims
the
frequently
misused
title,
indispensable
du
pianiste .
To
reter
here
to other
specialties of a
subordinate
n.iture.
/or
purely mechanical
ends,
would
extend
this
preface
toe
far.
Finally,
a
third
circumstance
might
be
mentioned
in
justification
of
OLir instructive
edition,
and,
indeed,
the
one
which
seems
to
us
weightiest
of
all.
It
relates
to
the
directions
for the
application
of
the
fingers,
which,
being
doled
out
by
the
author
with a sparingness
only
pro-
portiona*,?
to
their
want
of
consistency,
were
in
need
alike
of
augmentation and
alteration, in
order
to
help
the
performer
to attain
the
purposed
mechanical
aim.
In
order
to prevent
misinterpretation, we
will elucidate
more particularly
this
apparently
irreverent reproach
against
J.
B.
Cramer.
His labors fell
on
the
boundary-
line between
the earlier and
later periods of
pianoforte-
playing, of which
the latter,
keeping pace
with
the
increasing
perfection
of the
instrument,
and the
enhanced
demands resulting
from it upon the performers
powers
of
execution,
has,
in course of time, arrived at
a system
of fingering in
many
respects diametrically
opposed to
the former.
As
the chief
mechanical
difficulty
in piano-
forte-playing,
we now
lay
stress
upon the unevenness,
resulting
from the
local
relations
of bl.ick and white
keys,
of the field forming
the
scene
of action for the performer's
fingers. Our aim.
therefore,
is
chietly
directed to
render-
ing
the fingers
independent
of
that
unevenness,
and,
by
means
of protracted
gymnastic
exercise,
to
enable them
to
move
about
on the
black
kevs
in a manner as light,
free,
secure, and distinct as
when
on
white keys, and
without
stumbling in any combination
whatsoever of
white
and
black.
According to the
perhaps
somewhat venturesome
opinion
of the
editor, that
is
the best fingering which
permits
the
performer,
without
mechanical
preparation,
and without previously
t
iking pains
to
deliberate,
to
transpose a
given
pianoforte-piece
to anv
key
he may
choose; a modern virtuoso
of the
genuine
calibre
must
be
able
to
perform
Beethoven's
Op,
S7,
for
example,
as
conveniently in F3J
minor as
in
F
mi'
or. In
such
a
case,
the
construction of
a suitable fingering, which must
be
based
exclusively
upon
a
correct
rendering
of
the
musical
phrase
without
respect
either
to the relations
of
black
and white
keys,
or to
those of longer
and shorter fingers
demands, of
course, the overthrow
of
all
the
rules
of the
old
method.
This
old method
appears, after all,
to have
set
out
with
the
chief
purpose
of circumventing all
diffi-
culties endangering the preservation
of a quiet position
of
the
hand,
through
varying
relations of
the
white and
black keys
which
come
into
play
;
just
as,
among
other
things,
it
ignored
the
necessity
of^
different
applications
of
the
fingers in the
case
of
different modes of touch
(/.
e.,
between legalo,
stacrato.
etc.);
and
just
as
it
rejected
that
right of the thumb
to
free
migration
,
which
is
in-
dispensable in polyphonic
playing and
for
avoiding
per-
plexities in transposition;
declaring, as a matter
of
course,
him
to
be
the
best
pianoforte-composer
whose
inspiration
was
continually
guided by
the
external image of the
twelve
half-steps
of
the
the octave
on the
key-board,
as
seven broad and
fl.it keys, together
with
five
narrow and
elevated ones; judged by
which
criterion,
dementi's
pianoforte-fugues
might
indeed
have claimed an
uncondi-
tional
superiority
over those
of a
J.
S.
Bach.
Now,
J.
B.
Cramer (born
1771,
in
Mannheim;
died
1858,
near
London) comprehended in a
far greater
degree
than did
his predecessor,
representing
a
more
important
artistic individuality,
Muzio Clementi
(born
17S2,
at
Rome;
died
1832,
in
England)
whose
instruction,
more-
over, fie
enjoyed
only
in
178^-4.
at Vienna,
therefore
as
a boy
the necessity
of bre.ikmg
with
that method; and
in
his
studies are
to be found frequent traces of reforma-
tory
directions
for
the fingering
especially,
too, in respect
to the
old
limitation
of
the
activity
of
the
thumb,
just
men
II
8/11/2019 50 Selected Piano-Studies
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ioned.
But
as
if, frightened
bv
the
boldness of
his
attacks,
feared
the result
of
consistently
carrying them
out,
and
yielded
to
the
tyranny of earlier
practical
usage,
he
and frequently
shows
relapses into
the
old ways.
in preparing this
edition,
the
editor
deemed
him-
obliged
to suppress the
author who looked back,
in
of the one showing
intuitions
of
the
future;
still,
he
never gone
so far as
to
force another
fingering upon
pieces
in which
the
invention
of the pianoforte
appears
essentially
induced
by
the practices
of
the
method;
just
as, according
to his
principles,
the
concertos
(not,
on
the
other
hand,
those
of
we
mean
in the
original,
not their
antiquating
Hummel -ization
[Ver-
hummel
-ung]
)
should be
with
Hummels
own fingering
as
sufficiently
set
in
his
method for
the
pianoforte
without
any mod-
facilitation
or aggravation whatsoever.
The instructive remarks appended
to each
study
spare
the trouble
of
generalizing
that in our
work
which, in
special place, in connection
with practical
use, will
self-evident.
Still,
we desire
to mention,
in
that,
in
point
of
the
dynamic
signs of
delivery,
we
thought
it
best
to carry out with
more
exactness,
in detail, the intentions rather
sketchily
made known
the author.
Similar
revision
seemed
to
us
neces-
in
respect
to
the
/egiifo-s\urs
and
statra/o-points.
ecial care has
been
taken
to
display the
text in a
form
as
intelligible as possible,
following
in
this the
principle of
writing
upon
the
upper staff
all
assigned
to
the right
hand
for
performance,
all
given
to
the left
hand
upon
the
lower staff;
m
parallel
movements
of two
parts,
of
dis-
with the
luxury of double
slurring ;
etc.
With
reference
to
the
metronomic
signs,
wnicn,
as
hai
been said already,
are
copied
exactly
from the
original,
we
can
not conceal
that
to
us
they appear excessi\ely
fast
in
the majority of
cases
not
merely
in respect
to the
time
to be taken in
practising
them,
but
also to
that
ap-
propriate
to
their
delivery
simply as pieces of music. It
is
possible
that, as happened
with
Beethoven,
and more
recently
with
Schumann
(who
is
said
to
have
metrono-
mized
after
a
defective
Maelzel
during
an
entire creative
period),
the relation
of
the
compass
of
J.
B.
Cramer
to
our
normal
pyramid may
have resembled
that of a
Fah-
renheit
to a
Reaumur.
Concerning the
life
and
labors
of
the
composer,
infor-
mation
is to
be found
in
Fi^ns:
Universal Biography
(Biographic Universelle),
first
edition, 1866
[2nd
ed..
1884];
Gassner's Universal
Encyclopedia
of
Music (Uni-
versal-Lexikon
der
Tonkunst),
etc.
The History
ot
Pianoforte-playing
(Geschichte des
Klavierspiels), by
C. F.
Weitzmann,
was
referred
to at the
outset;
we
fully subscribe to what is there said
on
the relation of
Cramer to
his
predecessors
and
successors.
Unfortunately,
we have not
been
able, despite
repe.ited
endeavors,
to
ascertain
with
exactness
any
thing
con-
cerning
the
dates
of
the
successive
publication
of
Cramer's
studies,
to
establish
which
would
he
of
more
than mere
historic
interest.
The
second
book
appeared with
Breit-
kopf
and
Hlirtel
in 1810
(when
in tngland
?)
; and in the
advertisement relerring
to it in the General Musical
Gazette
(Allgem. musikal.
Zeitung),
the first book is mentioned
as
having
already passed through
five
editions,
and as being
one
of
the
most excellent
collections
of
studies that
had
appeared
in the last quinquennium
(180S-1810).
,. .,
0^0
Hans von
BOlow.
Mi:nich,
May,
i8b8.
CoCVKIliH
I
SCHIRMEK,
1875.
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2
Fifty
Selected
Pianoforte
-Studies
Allegro.
(J
= \ri.)
se/itpte
leg'nfiss.
by
J.
B.
Cramer.
(1j*>
ff\
[r
T
\
r r
r
r
^
;^
tiir
L-
If
ay
^i
s
^5^
I
'
o
.,
.>
1
(iiiii.
Kiinw^
*)
Thf
fiRures given
in brackets
are the rn,'ii,'i/
iti/mhr-rs of
the
etudes in
the
first
edition
of
Cramer's 84 celebrated
^* '*'* ^-
Copyright,
1899,
ly
G.
Schirmer, Ine.
*''*
Copyright
re7iewal
assigned,
1927,
to
G. Schirmer,
Inc.
Printed
in
the
U.
S.
A.
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S^33
Each
hand
should
first practise
its
part
alone,
in
tempo
and
with a
uniform
degree
of loudness
.
by
way
of
a
test,
try
to
play
in
faster
tempo and
even
mezzn-p/ann instead
of
the
previous
/ '//-/i . If the
indistinctness should
be
detected, resume
the
first
of
practice.
Both
hands
must
not play together
the
mechanical
difficulties
are
overcome.
The
study
execution
with
cresrendns
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Allegro.
(J
= 88)
^
ten.
nemjrre
1^5
7
JJJ
t
o
1
J
^
^CIJ^B^C^
,J-3J^,
^rn
^
r^
a
I
f
1
1
4
a
i
i
^^/i.
sempre
(5)
^^^
^
it
1
it 1
-
3X
LJ*
^1/
iiLjTg
cir
LL;iirc^
-t>
j:
JT:
jTi
jj;
-*
4
J-
^
S
7
_0-
tfJl?5^j?5i:^
II
m
A
m
7
-A
f
I
:^
-
'EJf^cirto^
i
^
/
^
n
i^'jT3JT2
i>
H
^^
t
1
^
^
i
f
(10)
ri
^
-o-
^Ccr^LTC^
wm
ti.
J^'T^
JTT^
J3^JJ:,;T^
3X
/^-^i/r3^T3
ZEE
%
=t=5:
^
2^
^
'Ll
l
LS
h l
rTf
5-
ill^
^
(15)
J
c/tir;r
ftrr
i
g^
^
m
4^
:i
i' i
i
=i
1
M
\
I'i
\
J^^QJTl
a
7
n
5
/
^^
diinin.
IL*
4
1
i
I
z
IJl
^
i
ff^=
^
J
f
r
I7lil
8/11/2019 50 Selected Piano-Studies
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i^mffmm.
^S-SS-S3=Pi|.
\m
J*
-r
1
^^iz
t^
'
i9-
1.
The
apparent
unimportanc*
of
the
part assig^ned
to
the
hand
in
this
Etude,
should
not mislead
the
pupil into im-
that
the
rule for
the
separate
practice
of
each hand,
under
N9 1,
may
possibly be
dispensed
with
here.
On
contrary,
its
observance in this
very
case
will tend
to stim-
musical
interest
in
the
number, and
thus
indirectly
fur-
the
execution of
the
rig-hl
hand.
2.
A partial
alteration
of
the
Cramer
fini,'-erinq-
which
at
first
g-lance
may
seem
convenient
struck
the
editor
as
necessary
here
(as
in
various other
casesj
in
order
to
give
the neg-lected
fourth
fin >-cr every
possible
opportunity
for
individual
development.
This
emancipation
of
the
fourth
fin-
ger
is
an
essential
condition
for
a correct
manner
of
hold-
ing
the
hand.
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8
Allegro
con
spirito.(J
= i32.)
iJ^n
^rffr
4.
(13.)
f
e sempre
leg'ato
'
4
ii
4*
i
i
U
i
:
=
^
4
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iM.
S
i
I
i
1^
^f
^^
^-^
->-M'f
r V
^
^^
,
fiiV
nr]
rrp
,
rrp
nr
p
^
^3
^.t^iiN^i^'i
^^
^nii|
I
itfrrrrr^r
(1.) A
more
practical
distribution
of
the
figures
hetween
hands,
in
measures
14-17
and
25, appeared necessary
for
rhythmical
and
purely
mechanical
reasons.
Among
latter is
the
rule
for
avoiding
the
useof
the
thumb
when
the
hands;
for
this
draws
the
entire
palm of
the
into
play,
and
thus
impedes the
ease
of
movement
in
both hands.
(2.)
The
fingering given
for
measures
10
and
11,
is
applicable
to
all
similar
graded
progressions; the
more
black
keys
involved,
the
less will thethumb be
used,
and
rice
versa.
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10
Allegro
moderato.
(J ^
i
14)
se
111
pre
leg'afo
1764
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11
f r
r r
r
r
A
transposition
of this Etude
into
O
minor and
F minor,
i?ive
a
still
better test of
its
practical
utilityjbesides,
in
transposing
cannot be
too
early
recommended
-
p,'7
Pf7
P?r
P?7
=
as
an
advantageous
influence
on
the pupil's
ear
and
gen-
eral
musical
development.
Compare the
Preface.
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The
editor's
experience
in
teaching^
has convinced him
of
the comparative
uselessness
of this
Etude in
the orig-
key of D
major,
and of its
utility
as trsinsposed
into
DU
the
original key,
a good piano-fingering
for small
hands,
uninterrupted legato, could
not
be
found for
the
transition
the
very
first
two
measures.
Too great
care
cannot be bestowed
on firmly holding
down
the
thumb of
the left hand in measures
9,13
and
14,
while the
forefinger
is turning
over
to
take the
last
eighth-
note.
Sufficient attention
is
usually not
paid
to
such
pre-
liminary practice
to
polyphonic
playing.
(3)
A
transposition
of
this
Etude
into
C major
is
cilso
rec-
ommended.
The
unavoidable changes
in
the
fingering
may
be left
to
the
teacher's insight.
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14
Moderate
con
espressione.
(J =
132.)
5
3
ZFF=*t
fci
^m
(5)
*/
-.
'^'-
r,
r
jg
^oeo
ptif
f
y
'
g^
i
gj^ff^
i
^H,-
r^^LF_j4g^;
^^g^
.
^1
^ew.
?4g*L^?J
??J^
1764
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15
This
Etude
is
to be
considered,
first
of all, as
a
in
velocity
for
the
left hand.
The
teacher
should
take
at
the
same
time,
to stimulate a
feeling'
for
the
lead-
of
the bass
amid the
endeavors after
a
smooth
and even
This
feeling
should
be expressed by an
accentua-
(though
not too
pointed)
of
tones marking
succes-
modulations.
Of course,
such
accents
must
not
be
un-
multiplied;
in
measures 1 and
2,
for instance,
a
accent
on
this
lowest note
is
not
allowable. In
5,
on the other
hand,
besides
the first and
third
s, the G
and
the
Ai]
(on
the
second
and fourth
half-
respectively) are to be
slightly
marked, and
in mea-
6 and
7
each
beat;
whereas,
in
meas.
23
and
3i,
the
beat,
on account
of
the
unchanging harmony,
ad-
mits of
no
accent.
(JJ.)
Separate practice
by the right hand will
prove
no
less beneficial
for
an intelligent
and
elegant execution.
The
apparently
complicated
fingering
must be strictly ob-
served;
it
was
derived
from a consideration
of
the
various
modes
of touch, and
of the
correct
declamation of
the
melodic
phrase.
(3.)
The
turn
in
meas.
i9
m,iy
be played in two
ways; ei-
ther:
(H
iVy
J
.
yjJ.^r
or:
J^J
Sjd'^
;
the
editor,
however,
pre-
fers the
latter,
because
it
more strictly
maintains
the rhyth-
mical
integrity
of
the
melodic succession (syncopation
of
the
second
beat); neither
can the
dissonance
of
aI
against the
bass
G (second
half
of
second
beat)
be
considered
offensive.
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16
Allegro
brillante. (J^tm.)
3
i
4.4
5
iI-2
4
5
m-T'-m
1
^
1
^
-#-
a
,f
P- *
i
^
^
8/11/2019 50 Selected Piano-Studies
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*
i
,
s.
ir-i
\'Pil\il
^m
mimi
ere.fc.
ili
,iS^
fifgp^fff^^ll
l-s
ffirJ
Frf
fci
^
P
I
*
^^
i
Touching
the
execution
of the
arpeggioM
chords
the
first
and
last measures,
compare the
Note
to
N9 1.
The
stacrati
alternating
between
the
hands,
must
executed
with
the greatest precision (meas.
13-16.)
The
Episode
(meas.
21-26)
deserves special at-
'A
Z
5
tcntion,
both
on account of
the
change
of fingering
in
the
right-hand
figure,
and
the
leaps
of
the forefinger
of the
left
hand
in
turning
over.
(4.)
Despite
strong
family
resemblance
to
Etude
1,
this
number
is
not
rendered superfluous
by
the latter.
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(
Moderato.(dz6a)
fe^
smm
^ A
S^
151
^m
f
i'f
^m
^
*-
J^'i
S^
S^
(20
m
^
^Si3^
^
j
^T^.^jTil^T^
?z
f
f
ni
S
I5t
,;^j^jn
ffiy
^
-..'h^^'^
?^i
J
^
,
rr-
j--
S^
^
**^
^
I
P.
*
>
f
i
f
f
8/11/2019 50 Selected Piano-Studies
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''
'
^
^y^^
'^
WsT
^^^m
IT-
P
crexe.
m
te
as
^
/
K
^
6
(50)
S
J31
i^ztfe
Il iT3
i
^
=
fe
-(2^
ffi
^r^
^^'
^i^^
(55)
ss
s^
am.
f^
4^
3
W^i^^^^^l^ri
dtmin.
t
2
life
ip
3c:
To derive
full
profit from
the
exercises
for the
inde-
of
the
fourth
and
fifth
fingers,
\vc recommend
the number of
movements
in
each
measure should at
be
doubled,
thus:
Hands of
small
stretching
capacity will
find
only
1,4,
12
and
2S
of
special difficulty.
Admissible
are
left
to
the teachers
judgment
in
individu-
al cases.
(3.)
While
pursuing
the technical aims
of
this Etude,
do
not
neglect the study
of its classic form
and
its
melodic
and
modulatory content.
(4.)
Transpositions of
this
Etude
into
Ctt
minor
and
B
minor
will
prove very beneficial,
both
technically
and as
exercises
in the practical utilization
of
elementary
ac-
quirements in
harmony.
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20
Alleg'i'o
non
troppo
as- a)
5,45
174
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A certain
continuity being
both
practical
anJ
necessary
every
special
study,
thu
editor has placed the
present
and
next-following' trill-exercise
directly
after
the
foregoing
for
the fourth and
fifth
fingers.lt will
be
seen
at
that
a
new
feature of
technical
development appears
the
present Etude:
the
weaker fingers
are combined
the
stronger
in a
uniformly
light
and
agile touch.
More-
the
fingers
must
be
trained
to contract
swiftly after
extension;
while
the hand
is to
be so
habituated
to
et plasticity
of
motion,
that
the
finger-movements
appar-
leave
it
quite
at
rest.
a.
The editor
lays
particular
stress
on
an exact
finger-
for
the
left
hand.
His
experience
with the
power
of the
of
inertia
has
taught
him, that a fingering
like
the
usual convenient
the
following
audible
(or
rather
inaudible)
result:
By
such
an amateurish execution,
in
polyphonic pieces,
are
caused
the
most
absurd misconceptions with regard
to
the
leading of the parts. Passages in thirds
as,
for
example,
those
in the Presto
of
the
Beethoven
Ci
minor
sonata
op.
27,
N
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23
Andante.
''-.
iia.)
n
(10)
3 tr
***
V
^^
^g
i
g
:l
i
*4*4*,*4^i
i
im,
m
4
4
,
mi
i
i.^
i
1
1
\
\
\
'i
im-
1
3
{
^^^
^
^
i
^
/r
^
^,..g>j
fi
t
(15)
r
r
(20)
^^^hi\>f\^.
^
^m
w^
ffiin.
^
1 4
^
^
1
-J
I
i_i
^^
1 i
:i J
1
*
i
a
^^
i
-I
1
^
W
r
I7tit
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33
15
5 4
3
4
(40)
Instead of four
trill-notes
to each
eighth-note,
as in
original,
the
editor
deemed
it
better
to require
six.
The beginning of
the
trill
on
the
higher
auxiliary,
is
by the importance
of the trills in
this
number;
by
proper
regard
for
the smoothness
of
the
after-beat;
and
the
suspension-like
charm
gained
thereby;
while no
indistinctness
is
anywhere
induced.
(3.)
Exceptions
are found
in
measures
25,
27,
35 and
37,
in
the
left hand, where
a
beginning
on
the
auxiliary
would obscure the
harmony
in
its
most
essential
ele
-
ment
the
bass.
(4.)
In
measures
13-15
a
critical revision
of the
left-
hand part
appeared
indispensable, it
being
of incompre
-
hensible
meagreness in
the
original.
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24
Lento.
(J
=
76)
5I
cnntabile
12.
(11.)
do/re
r.
A-
X
i
4
J
v^%
11
J^
tFW
^
4
i
d
i
t
^3
i
ere
so.
'V\
,
p
^^
^
^^
/
f
^
8/11/2019 50 Selected Piano-Studies
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1
J
4
WF
*8
45
45
1
J.
I
A_^
m
^
^-
sm^^ ^
B
:*J:^^^
^
azt
f
1764
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26
4
.'
-m
--#
8/11/2019 50 Selected Piano-Studies
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37
J
w
m^
k
^
^
-#ty
As
a
contrast
to
the
preceding
Etude,
the
present
seemed
to
be
appropriate
in this
phice. All so-called
strength','
in
piano-
playing, depending
on
finger
-
agility
by
practice,
the
independence of the fourth and
ifth
fingers, gained
b}-
means
of
the
foregoing
Etudes,
now
be
available
in
the
shape
of
cleanness of attack,
76
ten.
il
pussibile
in playing
the highest
part.
By
writing
out
the
trills
in
full,
the
editor
hopes
to
remedy
that
pitiable
indecision
which
frequently
leads
in
the
final
movements of the
Beethoven
sonatas
op.
53, 109,
111,
and
also in
the
first
movement of
op. 100, for example
to
the most
sadly
perverted
practical
interpretations.
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Vivace.
(^=
100.)
sempre
sopra
In
niunv
desfra
1764''
Cn2fyright,
1S99,
by G.
Srhir^nrr,
Tnr..
Cfrpyright
renewal
assigned, 1927,
t
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Allog-ro.(J=9;jJ
8/11/2019 50 Selected Piano-Studies
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15.
(18.)
f
Allegi
1-0.(J'=13N;
F
^f^
5
K.
1
5
1.
4
1.
:>
4
1
=-(
d
^^^
\
\
'Ml
SI
-s
s
1
r ,
^
^
'
-J
. J
_
1
8
\
- ^^^i?
|i^
m
-^T-T^
>:, 1.8
-
'*
a
*
'i
dimin.
n
1
fe
w
t
^
8/11/2019 50 Selected Piano-Studies
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33
^
=^
'-T
t>
^
8/11/2019 50 Selected Piano-Studies
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Allegrro.
(J
=
138.)
o
^^
^
V
5
/d*
j-^-
J.
f
'
-g
^
7 h
m
ttEj
P
*
r7~
:^
^
21
i:
^
P=w-3
8/11/2019 50 Selected Piano-Studies
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35
(20^
cresc.
/
ffi
j^
j?#
^fe^
ai
^
^
^
#
A
:_#
'.
Ar.
1
^^
-;
i-aj-*
^30)
'^
^
I
SX.
^
S
'j^jj^Effl
^
^jJ'^JW^
All remasks
on
the preceding
Etude
apply
to
its coun-
terpart,
the
present number.
We
also add
theCwellnigh
su-
1764
perfluous)
recommendation, to
let the
p-
^iractise
thr
measures
two
by two.
8/11/2019 50 Selected Piano-Studies
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38
Allegro
moderato.
(i^=i3a.)
3
3
.?
*a=5
^
t
S=^&
f
#SjPI
18
(9
'A
T.
l
8/11/2019 50 Selected Piano-Studies
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(1.)
As
no short,
tj'pical
figure
predominates in
this
^tude,
but,
instead, a variety
of
successive fif,rures,
it
appears
advisable
to make a
special
prelimin.iry stud-
y
of
each
of
the small
groups. For
instan
ce, practise
measure 1
at first alone,
and
then in
connectionwith
measure
2;then take
up
the
figure in
measure
.'{,wlth
amplifications;
then
the one
occuring
in
measure
ft;etc.,
(2.)
It is
evident,
that
the
right-hand part
.ilso
requires
special practice;
careful
attention must,
in particular,
be
paid to
correct
phrasing,(musical punctuation,)
which
is precisely
indicated
by
beginning
and ending of
the
legato-slurs.
C3.)
The
following
execution
of
the
trills in
measures
a,
G,
8,
etc., is
perhaps
more tasteful than
that
written
out in
measure
2:
Through the retarded
entrance
of
the C|},the
auxil-
iary
D
receives
added melodic
importance
as
a
sus-
pension.
This mode of
execution is particularly
rec-
ommended
for
measure
2G, in order
to
avoid accident-
al
consecutive
fifths
between
bass and soprano:d
.
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40
19.
(2.)
mm
Presto.
(cJiioo)
4
-.
4
3
fa
^>tt
ly
^
t
i
M
m
..%?
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f'
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41
w
^
'
i
f
f
2 f ^
[''
fT'
g=t
'^.^^.r\^
\
A^^^
(20^
m.
''H*^^'4H
5
*>^
This
Etude,
as
N9
2
(in
the
original,)
was
not in
the
right
place. The
change from
bwift extension to
con-
traction of
the
hand, and the work
expected
of
the
weak-
er
fingers,
demand a higher
degree of technical devel-
opnient
th.in
N*?
1
presupposes. But,after
Nos.9,
10,
and
17 have
gone
before,
the
task can
be accomplished
with-
out
difficulty.
We
hardly
need point out
the
necessity
for
practising
the
left-hand part
by
itself.
8/11/2019 50 Selected Piano-Studies
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Moderato.
(J^Hi)
20.
^B^
U
i
c^
:SP
iff
f,rfrVr.rrVr: jS
^
i
s
'^
m
1
/ i^//.
2
^
i
te-
3
2
#=^F
*
^ fl.
P
^
ft
>
rrr,iiprr^r,rrrri^.rrrr%ryrrnr-^f^
=^
S
6
BSS=I
S
s
5
^-
s
ten.
^
4
^
^g;?.
71
9
9
4
5
8/11/2019 50 Selected Piano-Studies
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43
1
pf^^g
ffirrrrriirrri'Mrrrrii
L^
i
t
m
i-i^'
g
/
dm.
i
3
.
a
crefic.
4
2
i
^
3
.
.ffegilP
|>Pttef.
.ef^p
^ftf.f
i
jf,.t
^
^
s
3
J
tl^
^^l-
/ ///
J
te.
{\.y The
chromatic
steps in
the
rig^ht-hand
figure
should
be
specially
accented at
first.
(2.^
Do
not
underrate
the
secondary
importance
of
this
1764
Etude as
a staccato study
for the
left hand. The
player
should
imagine the
effect
of a
pizzicnto
on the violoncello.
Pay
careful
attention to the fingering.
8/11/2019 50 Selected Piano-Studies
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44
Allegretto.
(J
-
n^)
B
4
siini/e
(5)
.(20)
8/11/2019 50 Selected Piano-Studies
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45
(i)
Double-notes like
these
arc
easier for
beginners
to
master than
passages
in thirds,
for
instance;
tor
in
the
former the
strength
of
the
entire
hand
can aid
tne
weakness
of
individual
fingcrs.Give
particular
atten-
tion
to lifting
the hand
elastically
after
each
connect-
ed
group
of
two
notes,
executing the
figures
as follows:
etc. It
is
even
advisable,
by
way of
practice,
to
allow
a still longer
pause
to
intervene-,e.g.
iZ.)
The
left hand
has an opportunity
to continue
the
staccato
exercises
begun
in
the
preceding
num-
ber.
The
occasional
32 ^
notes in
measures
6, 10,
etc.,
demand energetic rapidity.
1764
8/11/2019 50 Selected Piano-Studies
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Alle
g'l'o
/d^io*)
22.
(1.)
>i;(^r
4
3
Pj,
a
5
ip
1
1
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i''?i^3
'w
^^^
i
i'^mlLt
^
^
4
^^
'
;
ri
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m
^
sj^g-gg
ki
^
lnr
=^
^PP
S
^,
5
1
'2Q)j;f:
I
8
- ^
i
Sgp
^
gji
^^
r
^
feB3^as*3s
^
p^
''i,' ,
frrr,
ne**
w
m
CTJMOJ
2
9
^
^
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yz
P
is
(45)
^
*
T
'^V
,2
>,
2
^rM^
^
1
,
ffbf-:^
Pl^
Si
cresc
3
s
^r>. ''T^f
S
i
/
^
g
^
^'ffWt
1
3
iti^it
1
B
ffi
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r
3
^
1
8/11/2019 50 Selected Piano-Studies
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48
Allegro
non
tanto.
(J=
i38.)
3
4
3
simili
It
it
F
I'-r
//
Basso sempre
tenuto e
marcato
i
MSti
if
^^
^
ao)
I
^
s
i
ijta^^
^
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i
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as)
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***
9^
S
f
^^^
M^
S
^eSJ
(30)
^ffi
5
lEI
=s;
1764
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fc
^1 ^
m
iSi
^m
^^
49
^ir
ii_a
(40)
(50)
(1)
This Etude
doubtless
forms the
best
introduction
to
practising-
passages
in
thirds.
By
the
staccato
lift
of each
fourth
16th
-note (which,
by
the
way,
makes an excellent ex-
ercise in
elastic touch),fatipue
is
obviated.
As a preliminary
study,
an amplification
of
the first
half
of
the
figure
is
As
secondary
studies, the
ecommended:
following variants
may
be
tried:
w
and:
(Z)
The octave-progressions in
the
left hand
are
to
be
played
as
energetically
and
decidedly
as
possible.
The
teacher
should prevent
the
formation
of
that well-meant,
amateurish bad habit of trying to connect
an octave
with
a
higher
one
by replacing the thumb by another
finger,
and
thus
(unavoidably)
quitting the lower
note
of
the
lower
oc-
tave. (No less reprehensible
is
the reverse
practice
of
replac-
ing, in descending,
the
fifth finger
of
the left
hand
by
the
third,
thus quitting the higher
octave-note.)
8/11/2019 50 Selected Piano-Studies
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50
Allegro
vivace.
(Jrieo.)
24.
(63.)
i
^E
mf
5
tL
n.
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5,5
.5
5
^
a*
3S32*
E^'UL-^
5^
111
4^
'
f
-^^
ty
^^^.^l^f^^f^^
ten.
P
^
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(20)
51
5^
ffffppfffffi
.
fp^
:^g
H^K
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ere.Sc.
r
r
J2.
w
/
1
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I
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ffi
crtsc.
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3
4
1
3
E3E
3
lea
4
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3
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rffl
3*3
cre,sc
^
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jl
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m^i
r-i
(30)
n
rrn
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ten.
IT
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In
the
rapid tempo prescribed,
the pupil,
in his pre-
stage of
technical
proficiency, will
hardly
be able
master this Etude.
Its
practice
in
slower
tempo need
however, be
considered
premature.
The teacher
will
do
after
the lapse of a
certain
time
devoted
to
the
further
of this
collection
of
Etudes,
to
return
to
this
num-
and,
in
general, to review systematically.
Particular attention must
be paid
to lifting
the fin-
in
exact
time,
and both
to feel
and
to
see
that
it is
lifted,
at
the
end of a legato
-slur.
rF
\TS
appojTgiaturas,
we
refer
to the
previous
remarks (Notes
to
Nos.
1
and
14).
As
the
short
appoggiatura
represents
the
bass of
the
chord,
it
should
be
marked
all
the more
decidedly
from
the fact,
that the
after-
striking tone
is
more
impressed on
the
ear by
its
longer
duration.
The
triplets
in
the right h.ind
are to
be executed as
follows:
i
fi#
#^a
i
E = E^EE
^
-
8/11/2019 50 Selected Piano-Studies
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52
25.
(64.)
i
i
Maestoso
ehergrico.
(J=ios.>
n
-
t
f
^m
'^
3
2
^;T^py>
sopra
2
sotto
p
^
I
,
t^T'
hit^
-Tf^r
^^f
i
5
(15,U
kV-V
3
2
fi?^
1 3
I*
5
^
i
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Si:
ES
S:
^^ ^J)y>J)
c=^5
yn^
R
y^-'y
^
'va
i
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^
0'=^
dimin.
P
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3
2
1
sopra
3
2
1
H#^
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^^
srP
i/P^P
^P
^^
at
Wi}fin
5
2
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7.3
4
3
4
^
(35)
4
.
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?
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5
3
?
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=Z
^
^
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^
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7
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'
1
1 2
^P7p7^p
(40)
fe*
g^^
w#
w
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yr
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in
B
7
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r
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soprn
(45)
^
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3
1
tes^
>>
J)
Tj)
^^
y
jy^-W:
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-
-
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a
3
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pv^;i7p7j^
P^^p^P^'p^
^S
cre.sc.
.
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'
soffo 3
3
I
(50)
X
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Ji
4
;{
k^i>M'^^i^^lyJ^^''p7>''1pT(ji7B>J''^ N)^j)7il7j7'>
P7
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(60)
4
{
2
3
?*
4
^r
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v^
fi
dim.
'
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i^
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V'^^
J)^
j^''i>
^'^j)7;)7^
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j,^' ^
p
^i'^>
y
l
j^
1.
WTiile related
to
the
preceding
Etude as
regards
the
interweaving of
the
parts, this
number
also affords
new
material for
practice:
(a)
In
that
light
staccato
touch
which
should
resemble
the
portamento;
(b)
For
the
right
hand,
in
changing
fingers
on
one
and the same
key.
2.
By
indicating
in
detail
and consistently, by the
terms suf/o
and
supra,
whether
the
left
hand has
to
I7'4
play
below or above
the
right,
we
trust
to
have
obvi-
ated
the
embarrassment of
the
player
which
usually
de-
ters
him from
practising
this
number.
3.
At
the
beginning,
slow
practice
with
a
vigorous
touch
is recommended.
4.
Hands
of
lesser
stretching capacity
should
use
the
descending;
ninths and
tenths,
in
measures
3,
4,
41J and
17,
as
independent finger-
exercises,
in the ni.inner
ex-
plained
for
the
left hand in
the
preceding
Etude.
8/11/2019 50 Selected Piano-Studies
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74
35.,
(55.)
J
m^
5
5 5
4
I
#
#
1]
'
i
\'-
^U'^'-''
A ,
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3
ec
gggS'
/rti-sc.
5
3
5
*'20)
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-
a,Ki^^
I
it
J
1
4
-
J
^
WW
^^
w
i
ss
1
1 1 M
rji
^
1-1
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M
'
l
^
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^^
i_
:
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p^^^m
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-
tf-.
-*
/25j
/30)
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k
i
=15
i
ii
4
I7K'
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75
^45)
m
fen.
J
It;
^
5
4
:{
'I
\
1
i
H
i
m^
W^=i\
ap
S
i
4
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a^
E^a-Q/
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aj-a'^
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UdbtiU
Us^
ffi-M
'55)
1.
One of
the
best
means
for
acquirinf
4
i
A
^
5
4
'K
/
^ ^ ^ ^ #
bt
^^
_r
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ngl
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af :L;?^^TOi
ni
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^
^
^
i
4
B
*^:
te/i.
.4
5
^m
z
t
g
^
s
2
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nemprej
m
CTOTOT
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(1.) In its
technical
aims
the present Etude
belongs, like
he
two
next-following,
to
the
class
already
represented
in
Nos.
23
and
26 (also
Nos.21
and
24).
The
teachershould
let the pupil
review
the
earlier
numbers,
with
the Notes
appertaining
thereto.
(2.)
The
trills
for
the right
hand
in
measures
17
tp
19
should occupy,
in
rapid
tempo,
only
the
time-value of a
simple
turn;
but
the
resulting quintuplet
must be
strictly
rhythmical'y
apportioned to the
lower
part,
and
both
forms
of
quintuplet (2+3
and
3+2) ought to be
practised.
Of
1764
If
course,
more
notes are to be
played
in
slow tempo.
(3.) The melodic
ornament
in
the
first
beat
of mcas.
26
and
28,
and in
the third
and fourth
of meas.
31 and
32,
is
technically
termed
a slide (in
German;
Schleifer ; see
C.
Ph. E.
Bach's
indispensable
text-book: Versuch
iiber
die
wahre
Art,
das
Clavier
zu
spielen )-
As
a rule
(and
here, too)
it
is
to
be executed
crescendo
.
(4.)
For
the
appoggiaturas in
the
bass,
meas.
29-30,
see
Note 3
toN?24.
8/11/2019 50 Selected Piano-Studies
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78
Allegro.
(J-
r
96)
i
*jt
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tr^i/^i^
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J
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f
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3
4
2 2
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(15).
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(20)
ten.
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(40)
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n
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i)
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C5i
(70)
fen.
93
i)
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^
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(801
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^=^
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s^s^
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ar^
(1)
The
profit
to
be
derived
from
this
extremely useful
Etude,
will
consist in
an
equally
delicate and
even
distinct-
ness of touoh
of the individual fingers
with
the greatest
possible lightness
of
the
wrist.
As
an exercise
in repeated
tones,
it
should
be practised in
connection
with
Nos.
35
and
36,
which are
now
to
be
reviewed
as appropriate
pre-
liminary
studies.
The
binding
of certain
half-tone
and
whole-tone
steps,
(e.
g.,
in
meas.
23,
and
17 and
19,
re-
spectively,)
by a
special
slur,
was retained
and
consistently
carried out
according
to
the
original. The
musical
reason
for
this IS
so
evident, that explanation would
be
super-
fluous.
(2)
We
earnestly
warn
the teacher
against
toleration
for
the
naturalistic
fingering:
^
^
i
i
^ \^f^
by
reason
of
the
bad
habits it
engenders
in
a
technicaland
musical
sense.
Repeated
use
of
the
thumb,
after
the
octave
in
the
bass,
for
playing
the
harmonic
accompanying
and
accessory
parts,
is
permissible
only
when
the latter
kind are
a direct
repe-
tition
of
the
former, as in
meas. 90
and
91,
though,
for
that
matter, the'
other fingering
is also
applicable
to
these
cases.
In meas. 23 and
27,
there
is
no
preceding
octave;
conse-
quently,
the above
rule does
not
apply
to
them.
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94
3.
*
Andante
maestoso
ed
espressivo.
(J^neo.)
ten.
-A
^'
i
/
3
^
7/
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95
f
ff
a
2 3
1
I
^1^
iyj-i/aj'^^yjitfitf^H
dJii^^iiJ
^.
s
i
(15)
^-
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96
^
iU
^
di
siJ
gW^
5_
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z
1
f
f f
fi.ii.
f
f
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(a
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ii^
tU
dJ
sJJ
^
^
J^
S
1^^
poco
f
U
tW
-
Si^
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97
d.
This
Etude
is doubly
valuable:
as a study in flexibili-
for the
left hand, and
as
a study
in melodic
expression
the
rijfht.
It
must, of
course, be
left
to
the
teacher's
judg--
whether or no
the
number
is
too
far
advanced
in
the
respect, for the musical
development
of any
individual
A
fine
interpretation
of
the
cniitilciin
assumes
that the
is
already
qualified to interpret Fields
Nocturnes, or
melodic
passages in
Hummel's
or Moscheles' piano-con-
not to
mention the
classics
par excellence.
\X is
ad-
at
all
events, to
practise
the
left-hand
part
to
such
degree of
finished
execution, that
the
involuntarily
e
-
performance of
the
triplet-figure shall
no longer em-
the
right hand in playing two or four notes a-
each
triplet with rhythmical
exactness.
The
tenths
the
beginning
of
the
measure
must
not,
of course, be
by
leaps,
but by
sliilfully
sliding and
drawing
the
upward
(see
the exercise
written out
in
Note
3,
N9
which ought
now
to
be
practised
in
sharp
keys.)
(2.)
The
long
appoggiaturas
in
the
higher
part are
writ-
ten out in
modern notation.
As
frequently
remarked,
the
short
ones
must take
their time
-value, however
brief,
from
the
next
-following
principal note.
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99
wPrfrfw^^
^
/nffFJ-
sempre
piu
cre.sc.
ff7l.
ten.
V
%
^I^L^V
g
5
4
-0-^
5
H
.
>
4
I
^
^
J*
>^f^
i
i
i
i
h
^
5ifl=
i
?
f
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#
*
#
8/11/2019 50 Selected Piano-Studies
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t-^.^h^A-kJ
^.r
-^
i
}i^:;U
^
^^
m
giigLELfita
L|gL PLEfflD
jpvc'o
a
poc'o
vrtf.si
m
*
#
0-
?
(30j
^
molto
mnrc.
4
#
-
^
^^
g
g
I
^-p^
*
2^
-
1
^_
g
rgr
gr g
v^
^
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s^^
p,
#
^^i
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j
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2-5'3
j
J
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HPf
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9
^0^0
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9-
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>
i^
b^
>
,
}^,
^^
.
/
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ub
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y?.
if
IW^g
A^
.liJIi
^
^
T-^rr
^
-w-
T*
(50)
J.
^
1^
^
^m
7^
^
a
*^
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^
22
t
f
?=^
^-
player
havinp
already
encountered
similnr
for
practice
in
this collection (e.g.,
Etude
N9
useful
as
a preparatory
study,)
his
attention
may
immcdiatly
to
the
study
of
expression
and
style,
requiring-
considerable
flexibility
of
wrist
and
even
of
the
elbow-
joint. The
double-hooked
mel-
oHy-
notes of
the
higher
part should
be
struck
off, as
it were,
with
a
most
vigorous attack.
For
practice in
correctly striking
the accented
intervals,
a
side-stud-
y
of
the
same
in
legato
is
recommended-.
On
the
other
hand,
it
will
also
be
.
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102
Moderato
espressivo/J^jiuJ
8/11/2019 50 Selected Piano-Studies
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103
The
instructive aim of
this
Etude,
which
is
also
of
mean value
as
a piece
of music, hardly requires
explanation.
The
following points may be left
the teacher's
intelligent
supervision:
Polyphonic
in the
right hand;
expressive
emphasis
of the
melody in
the highest
part;
subordination
the
second accessory part; delicate fluency
and
continuity
in
the
figurate
accompaniment;
ing
of
each individu.il
part,
and compact consonance
of
the chords,
unmarred
by
the
slig-htest
arpeggio. No
les..S
care
oug ht
to
be
bestowed
on correct
phrasing-,
.is
in-
dicated by
the
beginning and
end
of the
slurs,
and
like-
wise
on
strict
observance
of
the
note-values of
the
two
parts
in the left hand,
the
higher
of
which
represents,
as
it were,
a violonrello-part
and
the lower a
double-bass.
Transposition
into
other
keys,
already
so
often
recom-
8/11/2019 50 Selected Piano-Studies
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104
46.
(41.)
4fc
Arioso
moderato. (J:ii6)
S
^yrt
spi
a
B
?
3
2 3
18
12
2
a
1
3
22
f^
I
2
.
1
2
I
__^
*
^^^
f
1764
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i;'^
^^
^h^^k^
^fflW
^E^grto-
wm
irP-
Etude
forms
a
counterpart
to
the
preceding--,
although
the rig:ht
hand
has
here only two parts,
execution
is
more
difficult,
so
that No. 46
serves
better
for
a preparatory
study
to No.
45,
than
rire
more
especially
because
the
figurate
accompani-
in
the
former
requires
a
more
expressive
shading.
player
should
im.igine
the
effect
of
a string-quartet.
a
piece
of
music
this
m.iy,
in a
sense,
be
regarded
the
prototype
of
Mendelssohn's
''Songs
withoutWords'-
despite
its
modest
simplicity,
with
which,
however,
it
unites perennial
freshness and
dignity of
ornamentation
and
finish of
form
and
piano-
style, it
is
assuredly
no
less
valuable than
any
of the
above-named
pieces
by the
afore-
said
more
modern master.
(3.) The
player
must
carefully
avoid a
sentimental
retard-
ing
of the tempo. Moreover, the
middle
division
(Minore)
will
bear
an
imperceptible
acceleration.
(4.)The notes written here and there
on the
lo-wer
staff
(in
meas.3,
4_15,
16,etc.),to
avoid using
too
many
leger-
lines,
are to
be
executed
by
the
right
hand.
8/11/2019 50 Selected Piano-Studies
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107
Molto
ag-itato.
(J-r
76)
J^J
'Mi'
8/11/2019 50 Selected Piano-Studies
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k^
l ^
ten.
J
^^
1
,1
M
o
i
I.
T
i
f
m
I
\^
i
(25)
fe *
^
>
'V
I
aimin. r
T
F
T
I
^W
/
II
dr
8/11/2019 50 Selected Piano-Studies
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109
mn
(1.) The
(at first
glance)
somewhat
sfrang-e-looking
slurs
skips,
are
given
in
the
original, and
hav
8/11/2019 50 Selected Piano-Studies
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(1.)
In
its
essentiiil
object
this Etude
is
a
continuation
the
one
preceding.
As
it
may now be
assumed,
that
player
is
accustomed
to execute
wide
intervals
in
time, not
by
leaping,
but
by g-liding- with
a
quiet
the method
of
lifting-
the
hand
proposed
as
a pre-
exercise
to
N9
47,
is
not
to be
employed here.
(Z.)
The
player
is
expressly
warned
ag-ainst
using'
any
but
the
one
given,
for
the
turn
in
the
first
half
It is,
in
particular,
a
wholly
reprehensible,
am.iteur-
sh trick
to
let
the
forefinger
play
alternately
above
and
below
the thumb;
besides
always
having-
a
lame effect,
it
causes
needless fatigue
and
tends to stiffen
the touch.
,^^
p.
?)oi
but rather:
.)
1 3
I,
.?
1
2
1
Consequently, never
play so:^^^^^^^^;,,^^^^^^^^,
,.^^.
,_
(3.)
.Strict
observance of the prescribed
crexrendu
and
dc-
rrrsre/ii/o
in
nearly every
measure,
will
also
afford
tech-
nical facilitation.
(.See
1
\o
N9
13.)
(4.)
Concerning
the
execution
of
arpeggio
chords
th:*
needful remarks
have
often
been
made.
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U2
Allegro.
(J
=
152.)
a
*
a
4
5
simile
m
9.
(83J
t
ff
Vr^y^
iir
f
^
fcO:
CJ
J
IJ
6^.
^
8/11/2019 50 Selected Piano-Studies
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113
(25)
s
A
^m
itmum
fi^
a
^
#^
,
(30)
^
f
^
s
ff
^
r-^
dm
in.
P
s^
^
rfi-
^f iff.
i^
^
^S
^r* r'f
(35)
t^
r
i^
l
l
r?
Mr
m
^m
^
^
rrs
m
ereNc.
f
8/11/2019 50 Selected Piano-Studies
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114
Moderate