The Modern Aproach to Piano Study - Level 3 [BOOK]

86

T

HIS piece is one of the most popular in a group of country dances composed by the great master Beethoven. It should be played in a gay and humorous spirit.

Country Dance

Allegro con brio

mp

3

.

2 1

. .

3 2

.

1 :::::­ 5 3 1 3 :::::­ 1 4 2 3

3

~ ~ ~

;::::... 4 -...2 1 3 2

t

.

~

--­

.

~ ~-~

f;::::...

L1 1 __

(

~ ~~

....-3

-(

'

....

-

.

.

~

cresco

L1

!~

•

R-

t-I

~J

~ ~

+1

1-1

~ ~ L1

I

J

.

_-If

~

.

.

3 2 1 4

_.

1

.

.( 3 2

.

11003

~

4 3 1 2 4 1 4 ;::::... ;::::... _{2 ~ 3} ;::::...

.

.

_{~ ~}

.

_{~ ~-}

.

_{~ ~} ;::::... ;::::... ;::::... 1~ 1 __ 1 __ -! _ 3 _{4 II} 2 1 --.,: 3 2 L 3 1 5_ 3 2 _;::::...

.­

-""

' - - . - ­ " , - - ­

-•

!t­ it- II­ .~

----...

::::­

-1

.

-

₁ ~ 13 2 4 2 4 l ;::::...

.

_'2

_1~i

-,

.

_{"': ~}

-*f

_:i

1 2 _{3 4} 1 ₄ ;::::... 5 5 3 1

.

.

1 3 2 37 3 2 ~

...

_ Iff • .P !~

mp

...

-,;

1'2

+-,r

~ 1 2

38

•

•

•

•

5 1 1 2

.P

cre8C.

1 3

.

;::­ 2 ₁

.

poco rit.

.P

a tempo

;::- __----1

_.

.

.

Spinning Song

This composition is composed almost entirely of one leading motive or musical pattern .

.Fm.rJ,J1J

(count 1 a & a 2 & 1 & 2.) Clap hands for each note.

A. ELLMENREICH 4 [.

Allegretto

1 3 5 5 3 4 3 5 4 2 3 3 2 3 5 _{3 5} 5 3 4 ₃ 2 3 2 4, 5 ;::-._---_--1

.

3 5 3 5 11003 rl

~

I

J ~ f

·

·

~

I f

~ f

·

~

I

~

I

·

t

~

2 ~ ~ 3 2 1

"

L3

"

_•

_{_}

.

••

•

• •

•

"... " ... r

_{.. J}

1.

f1 ~.-

.-

.-.­

_~~-

-

-

,£­

-­

,.

>­

-.

_r""'---01't!8C. IIiiiiiiiI U 2 >­ 2 1 3

•

I ~ ~,

,I­

5

.P

.

•

• 1 5

-•

2 1 5

.

1

.P cresco

V .5

•

~,~,-~ 1 2

.

•

.

"

2 . ;

,£­

5

••

·

·

•

11

-....

=

f

Ll'~ ~ ~

~~

1-'­

..,

v ~

"~3

.

.

_{IiiiiiI r}

,rill- • ".

~,!!,!- ~

1 5 1 3 2 5

"

5 1 2 3" 3 1 1 3 ,

Ef

~4f;jj_

_~~

.

.

.

•

•

•

•

3 5 " 3 2

11.

1 3 2 1 1 ~

-5 1 5 1 3 2 >­ 2 1 ., ... 4 2 5 -"'" ,

.

,­

I ---::...

_vcresc.

_r

r

bll

I­

I~,~

6.

~b~

.5

.

1

_V

-2 2 2 2 1 2 3 4 3 1 1 1 5 _{" 5} ..1:

-:;J.~~~

~~ ~"1

.

.

.

•

•

•

•

>­ >­ "/ 5 pOCO

rit.

" _{1 3} .5 "-7 V •

·

• •

.

Etude

In

E Flat

A well developed left hand is essential, if you wish to be a good pianist. How often do you hear the following, "I can play with my right hand but can't seem to do anything with my left". The answer is more

studies for the left hand, "Practice makes perfect".

Allegro

3 2 5 1 3 2 1 2 3 1 2 3 3 2 1 2 3 1 2 3 3 2 5 1 3 2 1 3 2 1 2 1 2 3 1 2 3 3 2 1 3 1 2 3 1 3 2 5 5

.

_"

"

cresco

1 2 3 1 2 3 3 2 ₁ 2 3 1 2 I} 1 3 2 I} 1 3 2 2 _{1 2} 1 2 3 3 2 1 2 ₃ 1 2 1 3 2 1 3 2 5 5 3 11003

41

I

--...

-

. .

-~ I ~ 4

-

4

~

I 1 2

.

3

If'ro..

2

_.

1 C~

)

~

-

I J J

't~

<

mf

--

.

I""""""T J ~. r- r-

-

~

"

t

L [J

•

5 3 2 1 3 2 1 2 3 1 2 3 5 3 2 1

a

2 1 2 3 1 2 3 /

~

I ::::­

,

~ -~ I <

-

-

...

­

-

_-

.

.",..

.

-(

·

_·

"""'1

-

_-

I J'" _. I""""" 1

....

I

-5 3 2 1 3 2 1 2 3 1 2 3 5 3 2 1 3 2 1 2 3 1 2 3

)

t

+3

2 1 2 3 1 2 3 ... 3 2 1 2 3 1 2 3

~

I ~ ~ 4 _"

.,

\

?:.t_

---

_.

V

[)' .1 ~ ~ 1 _ _ I

dt·m.

mp

..

-

_-

-

-·

-

-·

.~ r-v

--

_{1 3 2 1 3 2} 5 5 _ 4 3 1 2 3 1 2 :1 4 3 2 1 2 :j 1 2 3 -6­ 1 3 2 1 3 2 5 5 5 /

~

I ::::-

....­

---/

\

~

...

-

.­

v

l

-

,

-

...

-·

1

-

~

....

l L \I'­ lL ₂ 11003

42

T

HE practice of changing fingers on repeated notes is very helpful in developing sensi­ tivity and control at the finger tips. Practice very slowly at first and gradually increase the tempo, employing a light touch.

April Shower

(Study in Repeated Notes)

BURGMULLER 5 • 1 5 5

P

/eggiero

1 • ~4 3 2 1 • 4 1 2 1

..

f1

cresco

11003

d

--

----

--

-

-43 _____ 53 2 3 4: 4:

fJ

1 1 l 21 ~ ₃ 5 2...-..

I

1"'\ v

..

~

P

·

,

I

·

. / \I

,

*

...

-

I

,.,

1

_Y

leggiero

f*-f*"fII-(*-f*- (II-(*-(1I-(1I-f*" , . ",. ",. (II- (II- (II- ",. ",. ",. f*"

1<) I. i" I. O!

..

., I W _I~ I

~

~

I

·

--1:1

4: 2 to.,. 3 ₁₁ 4 _2l ~

32

1 2 n

.

...

n

5-4

3 . ~

...

<J ..I '

....

_ 14_ 11

-

...

-

I,..

cresco

, ­

v ...

-

--;..

l'

"'---;. h

It (11­ "'--;..

,,--­

(II­ 4 - - .

dim.

4 (II­ ~ It l

r.

.

IY I"

...

I 1 2 1 ~ ~4

~

3 2 1

~

.it

3 2 1 . ..:. 5

i

i

i

i

I

~

,.

. , h

-

-r

P

ftlll

-1';­

.

,..

11... -.

,.~ 1 t- P-

Il..,.:

~

_•

~

3 2 1 5 3 2 1

fJ

3

~

.;.-2 1

.it

~ _•

_..

n • fJ

.

---;;;

.

~

_v'

~

!

.~

.

~ki-

_i­

_lb....

_.j.­

_{;:;1 . .}

.

_~ •

,.

....

~ 17 .J

f

I) I) ~

_.;"..

3 2 1 ~

fJ

..:.

3 2 1

-

.,.

---

~

;.~~~

1=

~

I)

,

L/ ~ <

I

.

I

11003

cresco

1.:

_.

.-:

_.

~:

.

poco rit.

::::-..

2

-

-44

PETER TSCHAIKOWSKY (B.

1840 - D. 1893)

Tschaikowsky, the Great Russian Composer was originally a graduate of law. However, his intense love for music superseded all else, and he devoted himself entirely to composing. His music can best be described as sad, melan­ choly and soulful. He composed six symphonies and several Piano Concertos, the most popular of which are the Sixth Symphony and The Piano Concerto in B Flat Minor. The delightful "Nutcracker Suite" although written in one of his rare lighter moods, is a constant favorite among music lovers.

Waltz Of The Flowers

This waltz from the "Nutcracker Suite" by Tschaikowsky has a graceful, melodic charm and should be played with much expression and tonal shading.

P. TSCHAIKOWSKY

~ ~

A

11

egretto

_{1~4 I)}

---...

iff _~"

.~

.

~

=il. ..

-tI

"'!IL."'.

••

;:-~

-p

::

b •

~ ..;..

-

_.:.

.:. ..:.

..:.. ..:..

..---­

•

- ­

.

:. ilIi..

.

:. :.

.

.

ilIi.. ilIi..

-..

L ~ l<:. , 0

-

,~

-5 4 2 ₁ 3 ₂

-~~

1 - - 2 4 4 3 5~ 1 2 3 1 "2 4 2 4 3

,

I

_.­

-" . t

•

_­

.--­

_..

-~ _{~ 1 , .}

•

_H·

_•

11

Dli

=i

-:;1... •

p

=

­

j u ~-

=

6.

I

:----­

_•

-

:.

-

ilIi..

-

-·

.r-

..

_•

~

-

In I~ L \ _.'" IV I ~

-

-~---...

---

_{3 4} 2 4 2 4 3

~~

1 2 3 1 1 2~

3~

~

I

I

_"

,

~

.,

..

·

.1 J :1L4 3 4 "

"

... n 1 <> ..n. I q~·ft

..

_~

--

~

-

₌₌

-

...::::::

cresco pOCO

a

poco

, 1 : ;:-

-1'1 fU

-•

•

h . t• .f l

.

I....

-

_{15 1}

-15

-

I) 15 ~

-

-

-\

<

"

~ ~

~

·

.­

--­

3 4 51 n

--r-

5 4 _'> 4~ 3~ ..l"'""'" ~ I

-­

---­

..

-,f'

•

-­

=

-

~

,

_~,

,

Ll~

----==

I

-

-

I

-

­

-

I

-

-

-

­

II.

-

;:­ •

.

_-

.

­

I..,.

.

• .I"'

-I" I I""

15

'" 14 14 _{I" "­ fi}

-I

11003

i -45

~ ~

~

I

~

f

·

~

41

---­

-!..8 2 1 2 ~ ~ 3 4 5 _{1 4} 1 2 3 2 ... -x

1=

-I

.-.'

_~T

'

..

-

:::-~·lfpl

=

-

f

1

"iii.

~

~

I

-

-

1

-

1

-

_.­

-

-

-

~

-=

-II • ""'

.

l ­

•

•

,'"'

• in I"

₁₅

..

_~

15

... 4

\~

(

·

"3­

.

•

•

-

.

..

..~.

••

_~

,,"P.

~

•

r·

-p:.j

a tempo

::::-~

­

_=-­

--=

6.. ,,­

=

_b"

---­

-

-

_---­

....---.­

_r­

_"

-

~

--­

---­

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

:

•

_•

cresco

poco a poco

•

~

JJ 1~ 4 5

::::-...

5

,-!.

2 132

1~

4 5 4

~

JJ

t

I

"

-'-' ~ ~

t

·

,

1-2

8 1 n 4 0 ::--:-""'3

-:::­

•

I

15

I

-

₅

-~3

4 ~ 8 n - - - ­

•

-..,

~

-•

15 14

~~

I

•

t!. <

I

....

,.

~

tent!!­

_-­

-.

• _" 1.

••

2..

...1 .

••

u ' i

-­

p

_{2h..--. _}

_.

•

- 4

-...

2 •1

)

.. -fII­ 3 2 tJ

~!

-pp

•

~2 5,;;--'.. 4.­

-­

~ qh .­ v _

,­

.

_.

•

I':'(

• •

f

1 2

-.4, 1 2

-5 1 2

-

₄ 1 1 2 1 4

•

•

• • 11003

46

FRANZ JOSEPH HAYDN

(8. 1732 - D.

1809)

Haydn, affectionately referred to as "Papa Haydn" was one of a large family of twelve children. Although his parents were quite poor he managed to get a musical education and later was fortunate enough to have the patron­ age of the Esterhazys, which enabled him to do a tremendous amount of com­ posing. Teacher of Beethoven and Mozart, he also enjoys the distinction of be­

ing one of the world's great composers. His "Surprise Symphony" and many shorter works are full of charm, humor and light hearted gayety.

Allegro

Haydn's music possesses a gay, light quality which is aptly described in this composition. Observe fingering, phrasing and staccato marks carefully.

HAYDN 5

.

4

.

3

. .

2 3

~

t

~

~~

5 ₁ 2

.

3

.

_.;. 1

_;,j,­

2

_..:.

1

f:­

f:-

_f:.

t:

.~~!.:.

1~1

_1'!­

5---..

.

-

LI'

-!

~

mf

..

1\ I l 'l \ ~ ~

.

.

~

.

5~ 4~ 0"':"

-3 2 4

.

4 3 1

~

.

.

..

5"1

~

-.:.

1 2

.

t

~ iJ ~

~

r ~ , -L

)

~

)

(

3 ₃ 1

_.;,.

2

t

q~f:- ~~~

:f-~ft

..:.

.-

.:.

;.

.

•

• ~

1\

1\

.

~

•

.1 •

.

~ -.: .... "':' ...:;

..

_{3*" . . .}

~

·

_·

~-

5

.

...

...

-1111

.

•

1." ~ 1TI,!, _{~ ~ 1 ~ 41!}

_'!'

₁₄₁ 141 _1~ ~

~

1~~ ~ _~

-­

f

sfz­

_sfz

-

­

1 - - .

.;,..

.­

..

.,....­

_..:.

.

.

.

-

.:.

.

.

.

.

---­

V .J£ '4

..

_{4 3 2} r ₂ 4 3 1 3 4 3 2 1

~

\

~

)

t

·

, ₅ ~ 5

.,

K I} 3

.:.

1

..:.

2

..:.

2

..:..

----­

5 5 5

.

.

.

~

'--~

...

-

;~.

---:

_p.

' - - ' .

~

~

~

~

,....­

_-...l

.

..

-­

-!'­

--­

-

~

.

-

! ­

.

1 ~

.

r. ~ I} ~ 1 1 3 1---t.2 5 1 4 1 ~ 11003

47

r

5-1~~

___.1 _2.--1 iii '-.

-,r._ .

A

r

2r;2. 3 5

.

4

.

3

.

2 5 2 3 1 2 ~ 1 1 2 4 3 4 5 3 1 2 3 1 2 8 5

.. ..f'-

1~!1

-

I l _ 2 4:

.

2 ₁ 2...-ii1 2 1 2 _{1 3}

~~

~

i

~

,

4: :3

~

--'- C"-~ ~

•

1 • 11 _

.

..

.

J

'"

V 4: i) ·2 13 1 2 :3

.

-

.

...

'--

--

...

_{' -}

/ . _I

-

P.-r-it

mf

_.

_

f

~

h-

f!:-

~

:

t-..~

... _

-

~

.

.

Ii

.

"':'"

~

~ l

~$

! .

I

~ '--'"0 i

P

.

,

.

1 ~.

!

"':

4

3 2 3i­ 5 ₃ ~ l 5 3 ~ I _ ,,_ 4:. ~.

1'­

I,...-- • _I- i.­

f

cresco

_ff

-

,..

.

,...

.

.

-..

.

.

.

...

r

5~ ~

...

~

•

•

~ ~r 1

_4'

₃ 2

-41.

7 • 11003 2

Prelude

Study the chords on this page very carefully, as they are repeated on the next page in broken form.

I

f

BERENS ~

u

Moderato

I'.: -" ~

_~~

_i-E

_r~

J. ... _{1 Co.} 1-6 1-6 ~~~

mf

.

_.

..

~

.­

5 5 13 ~ 5 ~!_ _ _ _~I ~I______~I ~I____~I ~I______~I ~I____~ ~----~I~I---~

n~

~

T ~

I

_\

.

•

•

Z. •

17.:

.1 ~ _{1 c.. 1 c...} 1 H-6 1 Co. •

5'

1 1 c.; ₅ -6­ ₁

_7f.

Ped. s~mtle 4 ₅

n

~

~

,

""\ {!.

f

....

,

I '"

.

~

~~

~t:

_~~

~

....

₁ r:... 1-6 _1-6

r~

..., 1

...

1 2 I 1 5 5 8 ~ 5 I

~ ~

t

,

1'""\

~

I .

~ l..,.. ~ ' J '

i-E

-I 1 "'" _1~

it:

~-6~

_¥tl

, I

-­

2 4

.,

_{5 'I}

_7f

' J ' 3 5 11003

J

---

----

---49 I) I) 5 3 2

1!J5~1

5 321

1~'P;::=

~~

1~~~1

1 ! J

r:::::~

124

I)~

1 12 45_ / iiiI

.,

...

5

tW

_{r_}

tW~

_-:;,;;

-~ -~

_....

• • 111 ... ~

....

...

...

~. .'~

.­

...

-~

'---'"

~ ~~

_'---"'"

­

I

-.-T. .. . / I? _{- l - ­} I f

_...

l­ ~ 5

~u

~51!111_

1~5-2 35 - 1 ! J 5 _ 1

~

'Jf==:==

1 r-..: 1 .::...iii! ... \

(-r

.­ r­ "J -.: ""!£

-­

•

I

-LJ

....

.~.

.,---/­

_~~

....

.~

.

~J

-~---­

.:

~

-.

:

_{7 \}

_"

-#

_5d­

11

'.

C-! ₁ 5 I 3 _{5 I)} 4 5 ₅

~~

_..,Q5

_!!Ii

12 45 ... n 3 5..._

1~'fq::t

1

~'--

1~'===!!

..

~

..

~

1... :­

"T 1­

l

ill ~

-lif­

"111-­ ... "lI

~.'

-

...

~-

-'---"'"

-,

-.

...

-4

"'~1 ~

---Y

'---"'"

~ ~ -.,' ~.

....

..

1°

-­

₅ 5

~

I

\ T 4 5 1 ~5_ 12 45 _ _{1 2 4 5--.} 1 2 ... '

-~~

_..,'

1.-1 r roo-~

~,

~~

,

_tW

~ 111- ... ... - • 11

11""-

-11 'I ...

....--- ....---

n

-

---.

T ; / "'" I'"' ₄ 5 5 _{5 5} 1 2-! J . . . 124 ' ... • " 't 5 12 ' - ­ _\,

(

~~

..

_~

3

tW:..e

II

_"

4 5 1~'~ '-.r

---

.-

...

-

_'"

-y-

I'll

...

"

..

'

...

~ - : , , -

'1I~-1I~

1 \ ' ~

1

1'1

=

v 5 11

t

11 I)

~

•

•

50

THIS favorite composition by Heller requires a crisp staccato touch and a well defined rhythmic accent.

Curious Story

STEPHEN HELLER

Molto vivace

9 1~2 4~ 4 _ ~ 4: :::­

,

~

8 4 \ ~

t

.

4

',..

,..

.

.

9

'fnf

~i

...

.

"T "'!' _"-

-

_~ I-....

1.

3~

.~

.-IT ~ ~ ~

mf

9 5

191~

~

,

r

..

~

_--­

_.

\C ~ <

~

....

.

.

<r . / 4_

.

4 _ 4 3 A 4 :::­ .-...

.

~

II

3.

1.

"': "'­

-

_•-=

•

V t.J

~

!:

it

_-1

~T,iL

:;

~

~ 4 3 1 ₁ ..:..

-

l ­

f 8

r\ ~

".

.

.

I ­

~

r\

•

_.

.

..:..

l

•

·

e.I 11003

51

•

•

3~ ₃ 3

mf

dim .

>­ •

·

• • •

p~

•

•

1

ifz

.(. 2 -3 /

~

1 1_.5 5..--.. 1 1..-..· 5 _5,-J

-

_..

_{--:;. ,,-,.1 1} .2.43 2 .(. 8 4,

,

---­

.

)

~

.

-

-

"':'

-

":'

-

.

...

-(

.

P

_-

cresco

f

it

~2

_• 4 3_{-.. 4 !l 4 1} .(. 3 1 5~ ~ __

~

3 ₁ .(. ₈ • ...:. 1 - 1 - 1 - 1 ­

ft

:J

f!..jL

:t.,..--..

:J"'-;'

:t

l-:-:~

....

f

1\ r\

.

.

v

.

..

5~

.

~ ":'

_"-

_1'--"-:

~

1.

.

-

~ 1 ..:. _"

..:.

f\

~

.

...

_-..,

V ~

511. ...

~

)

(

'"

~

1 1 ~ 4 3 2

.

4_3 4:

s,....!,

¥

4 ₈ .!.1

!.;::e~

~

·

J

.

~

- -

"":' ... ~-j!i:

p

if

.;,.

1.

I. _

f~

_{~ r\}

.

_.

I;' t-

.

.

.

11003

52 1 15~ 4, 3 2

=

motto rlt.

4, 3 2 1

---

~

faagitato

L.N.

t

L.N.

a

tempo

_{3 2 1} 3 2 1 1 3 2 1 4, 5 4, 3 4, 1

Vz'vo

5

rit.

dim.

11003

53

KEYBOARD HARMONY

The following chord driUs are a review of the various chords you have learned.

Play hands separately

@:

jJ

&i

~,

ij

I

j

!ilii

II

lit

jJ

ij

~ij

ij

I

j

ti

II

MAJ. DIM. MAJ. AUG. MIN. DOM MAJ. MAJ. DIM. MAJ. AUG. MAJ. DOM. MAJ.

9

~ ~ I~~ q~~ ~~

I

~

T

f

II

9

~ ~ !P~ q~~ ~~

I

r

r

F

II

t~

t

~ ~~ -q~ -~

I

~

t

~

II

'~i ~ ~~ q-~

-,

I

~ ~ ~

II

'-it bb1

g~,

H,

1ft

f

II

9-tt kbt

9

9

1

H,

Ii

iii

t~ftlj

ijhi

"qj Hi

I

j

f

~ 11'~~f

j

~. ~§.

Hj

I! =

~

51ml ,

r,

fIh,

~,

I

r

1"

~ tJ$t,

r,

~,~,

I

r

f,

II

II

II

t

~

t.

Ipj

~~.

Hj

I;

t

~

I

,~

t.

~. ~~.

Hi

I!

~ ~

II

'~I' ~b, ~,",

If

f

I

II

'~f' ~b, qS,~,

If ,

§

@V'I)

ijf

q~

ij

IS

l

g

II

,Wi}

pJJ

qQ

ij

Ii

j

~

II

90'1

~ '*~ qq~ ·~I

r

~ ~

II

'wi

~ ~~ qq~.~

I

r

r

~

II

t

Wbl

_j

~i _~i

-i

₁₌

1

_j

_I

¥t

i

&~~i qq~i

-.

_I

_{j ; ;}

II

90j,t

~

!,bk,

q~~

9,

If

1

f

I

9wtt'

~l ~k!

9,

IF

f

F

II

•

•

•

•

----54

I

N order to connect the double notes in this composition it is necessary to observe the correct fingering. Play in a graceful manner and with much expression. Try to picture a scene in the grand Ballroom of Louis the Sixteenth.

Minuet

in

G

LUDWIG V AN BEETHOVEN B. 1770 - D. 1827

Moderat.:.o_ _ _~_ _~

5 4 5

.

5 ~ I ~

~~

~

:J 2 1.

1

1

!

.~

r-:

•

.

01 :~ • •

-

•

-'"

,.

~ All

I

l-­ I 111~

1..

~

_....

~~

_~

P

-=::::

...

.

_.

I

4 12 11

..

­

5 5 I -.l

t

_I L • i1

-.

,.

I

1i

~

l

\

~ ~

""

@.

~

.

----;;7

~---"'1

,...-.

•

•

•

•

• •

.

_~.

...

·

--....!~ 1"--.../

~1Fi

~-v

mf

-....-

_-

_-

--

t-..

•

-

~

.

4 12 11 ₂ 11 -,J­ 5 Ii

~ ~

\

." ~

.

\.

•

2r.

5 . 4_ 5 . 551­ 4~! 2 1 4 'I

-

_{I ~} ...-! 5 n !;a • •

.

• '"

-

•

•

1 1"I. 1-.. ,

...

-~

mf

-Il-l­

t . . t . . t • I ~

.

·

-

.

·

_{I I}

_-­

.J 11003

---

---

--

--55 II

~ ~

-

---­

_~

_---­

:::::>­

-

1.

2.

~

=

...

I

_I

,

_~

u,..

•

.

-

.

• Q/If . . Iq • •_• <) . . . ~ l • • ~ . . 1" • • 1. . . 1.. ~c;.

-1 "'iI 1-6 .4

!!..

_{I i}

111 _~

-

sfz

~

f

dlm.

Fine

~ r - ­

.

_•

-....

_·

·

.""':

...

...

;.,,[ \ 4-=, 511

...

~

...

~

...

D~

...

-

...

5i

5'i I I I I L-..I L--J L - - i l I L-.J I

,

2 1 2 3 4 3 .1

5~

J

~ ~

5~5 _{J J}

,

I I I rr _....,

.­

.-.

_.

_.

_.

~

.

-"

•

.

-=

_{~ "!}

.

~

-p

_,...---.-.

~

...---.-.

~

f

r:. , . *"I 0." IW po.

•

'4j ... .""': '-1 12 3 12 £ 4 12 4

TRIO

3 5 2 4 1 4 3 5 2 4 1 2 2 3 4 3 2 _{1 3 2 1 2 4} 1 4 5 3 2 1 ..,

~ ~

I .1 I J

-

....,

l

. I r

,

~

...

·

•

.-

....r

...

..

~ _{' ­}

-~

--

ft...

_1i

v

<

--­

...,...­ I

r-...

61 --...

..

·

---

-

---

"

' 5 _•

I

I • ..-/ I .... "- ...--1

..,

13 1 3 12 ₅ 5 1

t

< \ 1 2 4 5 4 3

~ ~

4~

4~

_{I I} I

i

~.

~ ..!}

1

---

I I I /If

•

3 ~ .:> ~

•

Q _q v ~ 2 3 2

mf

:;b

jI-~J!-

r--- l~

_

61 ~_ 61 :::::>-~k_ :::::>- ~

-

_...

·

!'"

·

.P' rr rr I

-

u ~ 1 2 4 2 3 2 1 2 4 2 3 2 / I < \ 3 5 2 4, 1 5

~ ~

I

J~

2 4 1 _{2 3}

1.

4 5 5 4 5, 41 .l'\ 1'\ • ~

·

·

-,~ _~ "­ • - I I

_

_;;;::]).0.

...

---­

::

::::::=­

_tJ~ille

~

P

POCOJit.

11

IJ~_

---­

61

-

...

21

31

2

~

-

....,

...

....

_• • / ' _.""': •

.

• ~ 5 15 11003

--56

THIS Hungarian dance by Brahms is a fine example of Gypsy Folk music. It is to be played with much spirit, strong rhythm and feeling.

Ifungarian Dance

JOHANNES BRAHMS B. 1833 - D. 1897

Allegro

•

"1

t

,

r

,

"1

"1

•

lr

,

_r

,

_It

,

_r

_t

_t

f

sfz

_sfz

_ifz

sfz

.

.

_.

1

3~1

...

1 2 3 5 1 3

.

1 2 3 2~3 11003

4 • ...----...

!:

~;;

ft

~

1L :;;;-.

~

1. loa

-

...

\

1

i

,

Tl

•

₃

•

l' ₃

•

₂

•

₂ I₃ 5 5 5 3 2 3 2 3 2 ,...---;:;-... • •

sf

3 1 4 2 5 3 5 1 111-.

3.

~.

-

~.

-.Ai

_

•

-L "" ~J I ~

mf

..

tl _{I I I}

.

....

~--.

-5 5 5

~

;; a

4..---.

5it4~

3.---. 4::

tl

3fj

~

.1

tl

I

.J4_

,

•

_"

­

"'r .I.

-

•

­

~

.p

poco rit.

f'

rit.

~-

I

I

1.1

..

\

~~

1 1

~~

1 :j 1 • 'II 1

:;

1 11 1

t

4

...

3

5 ₅ A

~

;; a

1.1!: ~ ~ •.1

')

• ;:""-.l.L 1

!

3 •

.!ou

l • ...;. 2 ;:,... :1 2 5

:

1.1~

;:,... " _ 0 r- ._ r-;.

•

_•

•

~

f

_{a tempo}

~

tt4!'

t1 ":,

I)

.

;:,...

~

u..

k

.,..:.

.

_•

.

.

s'

~

:{

"'

..

• .J

~

1

...

,

2 :1 _ I ' _4~ ;:::...

t

~

4

.. Students with small ha.nds may omit 01" release the notes D, C# and G# as indicated by the a.sterisks.

58

Allegretto

3 1IIf1 2 5 4 5 1 5

_{5..___}

.

Happy-Go-Lucky

The name of this piece is the key to its interpretation. Study the bass chords carefully before playing hands together.

_ - -__ 3

59

MAJOR TONIC CHORD ARPEGGIOS

53

C MAJOR G MAJOR D MAJOR E MAJOR B MAJOR I) Bb MAJOR Eb MAJOR

tmJ3

t 2 3 _

--­

lj, 2 t 2 5 lj, 2 2 t 4: 3 2 11003

60

MINOR TONIC CHORD ARPEGGIOS

A _D MINOR _MINOR 5

~

E MINOR

~

F# MINOR c# MINOR G# MINOR

.

.

.

5 4: G MINOR 54:2 4: 5 2 i 4: 2 24:1 2 i 2 4: Eb

...

MINOR t i 2 4: t 2 5 4: '" 11003

•

61

r

*MINOR SCALES AND MINOR TRIADS

A ! MINOR I I

I

\

~' E MINOR B MINOR F# MINOR c# MINOR G# MINOR 11003 1 1 3

"*

All the minor scales on this page are written in the Harmonic Form.

4 1 1 4 1 3 Root Pos. First Second Inver. Inver. t

-e­

:a:

1 3 ₃ 1 4 4 1 3 1 3 3

62

*MINOR SCALES AND MINOR TRIADS

---3·1

....

1 3 _{Root Irst Second}

Pos. Inver. Inver.

r:dJ,'

Im.l

4: 3.!-! fj 1 3 1 ,..,... I I

.t

_{LJ TI}

_...L

3

,

.A c:~

.

t..

-D MINOR

.

-.~

.

{

IrlJ...J

3 1

~-W

C!.tt,

!':"""'" _"I: 1-4 1 - 3

-1 '..J

-

_I. ..",. I~~

;~&

& v

...

1 ₁ - I. 5 C MINOR 1 3 5 3 1 1 3 4 1 1 4 1 ₃ i 5 -e­

:#

4 5 5 4l~ 14

q---mJ

-- --­

-­

1 3 1 ;Q..

ft

.e­ t 4: B~ MINOR Eb MINOR ( l l 3 1 ,

-.J

3 1 2 1 4 4o~3 1,--4_ _

.--,

-

J

- ---­

1 323 ~1-"" 1 3 1 (') 4: 1 3 1 2 1 2 4 t 2

*'

All the minor scales uil this page are written in the Harmonic Form. This is the form most commonly used. 11003

DICTIONARY OF MUSICAL TERMS

MUSICAL TERM ABBREVIATION MEANING

or SIGN

A Tempo ...

A tempo .. ... On

time

Accelerando ...

Accel. . ...

Increase speed gradually Accent Mark... . . . . .. ;::... ... Accent note

Agitato ...

Agllato . ...

Agitated Alla marcia ...

Alia .arcta. ...

In march style

Allegretto ... .

Allell"'etto ...

Merrily (fairly rapid) Allegro ..•...

Aile

11"'0 •••••••••••••Fast

Andante ... Antlante ...Slowly

Animato ...•

A.i.alo ...

With spirit, lively

Cantabile. . . Canta6ile .•... In a singing or vocal style Con brio... . COB

brio • .•...

With spirit

Crescendo ... .

Greac.

:: ...

Gradually louder Da Capo ... D. C. ... Rerum to the beginning Decrescendo ...•... .

Decre8c. :::::::=-- ...

Gradually softer

Diminuendo ... .

Di1& . .•..•...

Softer by degrees Dolce ...

Dolce. ...••....••.

Sweetly

Espressivo..•...

Eapre8aifJo ...•..••..

With expression Fine. . .

Fin" .•..•...•..

The end

Forte ..••...••....

f ...

Loud Fortissimo ...••..

ff ...

Very loud Grazioso ... .

Oruioao . ...•...

Gracefully

Hold ... 1":\ ...Sound note longer

than

its aaual value 11 canto. . . ..

n

Canto . ...The melody

Left Hand ...•....L. H. ...••.•••••... To be played by the left hand

La Melodia ...

La lIe/odia • ...

The melody

Legato ...

Legato .••... ..

.smooth and connected

· d '

Legglero ... .

Legl!uro. . . .• . . ..

. Lihg tan aJry

Lento ...

L,.to, ...

A little slower

than

andante Marcato ...•....•.••

Marcato. ...

Play with emphasis

Me:zzo..forte ...

"1/'... ...

Moderately loud Mezzo-piano ... .•

p ...

.Moderately soft MisteriOIO ...•...•..

Niateri080 . •...

.In a mysterious manner

Moderato ...•..•..Mo d.era

to ...

Moderate rate of speed (not too fast) Molto vivace ... .Molto

Vi"ace .. ...

Very lively

Piano ...•...

p . ...

Soft Pianissimo ...•...

.pp ...

Very soft Poco. . . ..

Poco...

Little Poco ~ poco ...•....

Pocn

a

poco . ...

By degrees Poco moto ...

Poco Noto ...

A little motion Presto ... .

Presto ...•....

Very fast Repeat Sign ...

III

.11. ...

Repeat

Right Hand ... .

R. H. ..•...•...•...

To be played with the right hand Ricard. . . ..

"t...

Gradually slower

Scherzando ...•.. 8clurzando ...••In a playful manner Sempre ... .

8empre ...•..

Always

Sforzando. . . ..

fifo ...

Very strong accent

Simile • • • • • • • • • • • • • • • • SUIII . ./ e. . . . • . . . Sam e as 10 . di cate previous y d . I

Slight Accent. . . .. - ...Sustain

Staccato ... 8tacc~

...

Detached, short Tempo ...•.

Tempo ...•....

Rate of speed Teneramente ...

TI!"eramente ...

With tender emotion Tranquillo ...Trangtdllo ...•....Quiet, calm

Vivace ...

Vitlace ...

Fast and lively Vivo ...

Yi"o ...

Lively

_,

briskly

_.