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http://hdl.handle.net/2027/uiug.30112015167627
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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MODERN MUSIC
AND MUSICIANS
EDITOR'INfCI-IIEF
LOUIS . ELSON
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MANAGING EDITOR
NICHOLAS DE VORE
ASSOCIATE AND ASSISTANT EDITORS
MORTIMER WILSON
BERNARD BOEKELMAN
RUDOLPH GANZ
ARTHUR ELSON
ALEXANDER LAMBERT
SIDNEY SILBER
GUY BEVIER WILLIAMS HOMER N. BARTLETT
CHARLES DENNEE
MAURICE DUMESNIL
GUSTAV L. BECKER
HENRY HOLDEN HUSS
EUGENE SIMPSON
AUGUST FRAEMCKE
JOSEPH PRIAULX
GROVER BROWER
ALEXANDER PERO
CESAR SAERCHINGER
ALSO INCLUDING
IGNACE J. PADEREWSKI
IN THE LIST OF
FANNIE BLOOMEIELDEEISLER
AUGUST ERAEMCKE
CHARLES DENNEE
EOR THE
PIANO
of Selection
BERNARD BOEKELMAN
ARTHUR EOOTE
EANNY MORRIS SMITH
NICHOLAS DE VORE
V
NORMAL STUDY
VOLUME
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ULI
/,\.
3'3
\/|3
TABLE OF CONTENTS
VOLUME V
PAG!
61
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Sonatine,
REINECKE
85
REINECKE
OESTEN
90
92
93
SCHMOLL
GURLITT
BEAUMONT
89
94
Minuet
PLEYEL
96
Polka
KHLER
96
2 -
SCHUMANN
Soldiers March,
LAcoMBE
98
99
GURLITT
HEINs
100
Little Princess
KULLAK
KULLAK
102
103
Once There
Was
97
Indian
Dance -
Valse Mignonne
Contemplation
STREABBOG
LICHNER
DUvERNoY
CLEMENTI
Lw
The
Clock
Valse Bleuette
Sonatina,
6'8,
No.
10
104
106
108
110
114
ScHMoLL
116
SCHUMANN
WEBER
SPINDLER
118
117
120
CLEMENTI
BAcH
DUssEK
GURLITT
MERKEL
68,
ScHUMANN
BURGMLLER
130
135
Minuet,
G Major
]11
No.
-
on a Swiss Song
BEETHOVEN
121
124
128
123
127
129
TABLE
iv
CONTENTS
PAGE
HOFMANN
SPINDLER
140
Playing Tag
142
_
144
146
152
152
LittleRogue
Polonaise
Christmas Tree
Tarantelle
LOEsCHORN
GADE _
LOEsCHORN
SCHARWENKA
SCHMOLL
_.
.
.
March
Waltz
139
to the
_
150
HELLER
Third Grade
155
167
SCHUMANN
GRIEG
209
210
REINHOLD
SCHUMANN
211
213
TheMill-_-
Coquetry
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12
215
219
222
E-flat -
MOZART
225
SPINDLER
228
PHILIPP SCHARWENKA
BACHMANN
234
238
240
Barcarolle
Valse Arienne
Menuetto
SCHMOLL
GRIEG
BEETHOVEN
MoszKOwsKl
CHOPIN
CHOPIN
SDERMAN
BACH
No. 3
Prelude, Op. 28, No. 9 _ _ _ _
Prelude, Op. 28, No. 7 _ _ _ Swedish Wedding March No. I, F Major
Gavotte, from the Fifth French Suite
Impromptu, Op. 142, No. 2 - - _
Mazurka, Op.
Scarf Dance
Ochsenmenuett
10,
232
242
249
251
252
253
256
SCHUBERT
257
260
CHAMINADE
HAYDN
262
GODARD
264
268
COUPERINMOZART _
272
SCHUBERT
276
BEETHOVEN
278
MENDELssOHN
_
CHOPIN
CHOPIN
280
Au Matin, Op. 83 - _ _ _ - _
_
The Nun _ _
Sonata,
March,
from
Major
Turkish
Minuet and Trio, B Minor
Bagatelle, Op. 33, No. 6
Spring Song, Op. 62, No. 6
Valse, Op. 64, No. 1
- - - Nocturne, Op. 9, No. 2
Selected
JENSEN
FIELD
GADE
Nocturne
Minuet,
284
288
291
TABLE OF CONTENTS
Y
PAGE
A Major
SCARLATTI
317
TscHAIKOWsKY
322
CHOPIN
Sonata,
Berceuse,
Adagio sostenuto
Allegretto
Presto agitato
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F Minor
GRIEG
328
PADEREWSKI
333
HANDEL
338
MENDELssoHN
344
BEETHOVEN
HAYDN
350
356
375
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ELEMENTS OF MUSIC
Musical notation is expressed by notes printed upon a staff consisting of five lines and four spaces
with added, or leger, lines above and below to augment its scope.
ne
ne
The musical alphabet consists of seven letters, A, B, C, D, E, F, G,
en?
ege:l_1.
mes
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Tenth
.
Nimh
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D
B
G
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Third
Second
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very thoroughly
Fourth
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Ab ove rh s fr-
Notes on the five lines; 0n the four spaces;
A
Ge
'
A v ll
lr
Nit
" -
Nm
64 Sixty-fourthNotes
735_60
Half
[
'
l:
Eighth
"
I:
I:
I:
l#
l#
fr.
Quarter
_ _ _ _
Inc.
Sixteenth
_____ _J _
___________
L_
_ _ _
32Thirtysecond
Notes
V
16 Sixteenth-
a,
Eighth-Notes
l:
Quarter-Notes
wh
Half-Notes
CONTAINS
lo
e
WHOLE Nora
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4.
l.
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Lines
Staff
38
=
_
Leger-lines
DOTTED NOTES
Value
Two Dots
'
etc.
Value
dot always
or rest.
increases, by one hay; the value of whatever precedes it, whether it be a note,
yA
dot
Flat
Sharp
Natural
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1
C
T
l]
*l*
l
C sharp
D flat
C natural
A sharp
raises the pitch of a. printed note a alf step;
A flat
lowers the pitch of a. printed note a. )1an step;
A natural
restores a note to its original pitch, after
or x) or a double flat (hiv) indicates a
A double sharp
Names of the notes
JI
Csharp Dshnrp
l
il l
with Sharps
1
l
l
1
ll
El
I
l
l
l
D natural
Names
DI
1
l
l'
ll
ll
l
ILL I
b4
l
l 1
L
V
l]Il
l
l
l
l
L
l
L
l
l
.
l
Gflat
Eflat
Bflat Cfln'v
/
CHROMATIC
"_T
1
' '1
i
1
Csharp D Dsharp E F Fsharp
(ik) ENHARMONIG
A
l
G Gsharp A Asharp B
l
l"
l
v
.
l
|
(the two possible ways of writing notes to be played upon the same key)
l. lll
.Il llI
Il_Ll
Black keys
C, B sharp
White keys
From one -key to the very next key is a half step, (often called semi-tone.)
Twice this distance is a. whole step;<from one key to the .2nd key aove or below.)
Fmajor
Dminor
) These notes
2 735 -60
are
Eminor
Blzmajor
Dmajor
Gminor
/[
Bminor
Einmnjor
fied
Amajor
Cminor
Filmnor
Emnjor
Alamajor
Cminor
Fminor
Bmajor
G# minor
major
Blminor
RHYTHLI
SIMPLE
COMPOUND
(TRIPLE RHYTHM)
SIMPLE
COMPOUND
The figures standing at the beginning of a composition, after the clefs and key signature,a.re called
The upper figure denotes the number of counts in a measure, the lower figure
quarter note.
fills
each count.
HOLD
e. g.
.means
of
fh
or PAUSE
value
RHYTHM is
a regular
in
TIME
is the subdivision of the measures into counts, or beats, of equal length. To keep time
count aloud, carefully spacing the words,or counts, an equal distance apart.
no strong impression or sense to the ear, no matter how perfectly
are observed.
is
is special
natural
accent,
emphasisl
a.
given
and arhfz'oz'al.
where
3f.d
it
fall
would logically
development
of the
composition.
counts in
_g-
ACCENT
):
There
areitwo kinds
of
ordinary rhythm,
from
which
compound
Artificial
tural accent
accent is special
and
requires
upon tones
emphasis
a special
sign
other than-those
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longer than the original value. This is a matter of taste but it should beheld at least twice the
which
call for
na,
and
(ordinary accent),
pressure accent.
The sign
A, v, sf,
sfz, or
(non legato).
full
is imparting the
LEGATO
a succession
A SLUR
is
a.
slur
first
ends on the
note
notes.
Itis
pri
lieta? value.
A SHORT SLUR
Occurs
.WQ-me.-
'L
p-
IK
If the
EXAMPLES
Executed.F+pi$cp*~jLq
L
'
softly
ETEE
rest, or silence.
>
half notes
and
l
I
note receives
the other
L 4l
> >
last note of the slur has a dot over it, the note is to be very short;
first
l
i
in
this rule.
them.
cance
a
If
of tones.
approximately
one
A TIE
/\
is a curved line connecting two consecutive notes, of the same name andpitch,
If
of ot/z notes.
first
note
being played and the key held down through the full value
either of the two notes has a dot over it the sign is a slur, not atie, and both notes
are played.
REPEAT MARKS
if this
a double
er than
or
I_l
IEE
8T
ex.
placed over notes indicates that these notes are to be played an octave high
'Sr-l bassa placed under the staff indicates that the notes over it are to be played an octave lower.
0072
little finger
(simultaneously)
its octave.
the
, Ba
, or D.
al Fine, placed
C.
D.
at the end
ofa composition or
qndicates that
movement,
the player should go back to the beginning and play the composition through again to the word
Bal
placed over a double bar, both of which indicate the close or finish.
Segno
means
Fine
or the sign
over
a double bar.
D; S., or
sition
or the sign
Fine,
figure
the
is in triplets,
slight accent.
or
If an
Ex.
notes.
similar
and
or
are played
is sometimes written over the first measure groups only, it being under
V,
V
V
V,
ficial grouping,
writing
V
V
This form
o_f
generally obvious.
P-(pz'ano)
(')
PP-
(pz'anzlsemo)
extremely
soft-_ mf-
(meqforte)
`f-'lfforlw loud
moderately loud
ff- (forft'su'mo)
tremely loud.
ex
<
>
(msc.)
Diminuendo
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in the value of
J,
In such
is
TRIPLET
TRIPLETS
Swell, or
For further
(dim.)
combined
instruction
Grade Section of
5-735-60
msc.
and
by this
sign:
this sign:
the book.
also indicated
09-98L-9
CONTRA
GROUP
GREAT
GROUP
SMALL
manner
of
g
GROUP
...
.
marking
.1b-___
of
notes
key,
called
and
OGTAVE
in
'
each
44
LINED
LINED
GROUP
TWO
if
LINED
GROUP
THREE
KEYS
group
subdivision
octaves)
the
PIANOFORTE
names
(sometimes
White
GROUP
ONE
each
groups.
for
desired
of
LINED
GROUP
FOUR
__
GROUP
KEYs
the
into
notation
7l/3
CONTRA
44
show
keyboard
staff
MODERN
letters
the
the
OF
37
SUB~
The
Showing
KEYBOARD
THE
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keys.
be
trifle
in fro-nt of the
and
fingers
the
curved so that they strike upon the cushion at the end of each finger; the palm of the hand
slightly arched. The knuckles will then be slzgtly raised; they should never be depressed, nor
should they be pushed or forced up to an awkward or pronounced elevation in playing the fingers.
The fingers
lzft from
should
knuckle
joint,
The unoccupied
etant
it releases
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lifted
up
a key,
full control,
ly piano or pianissimo
at
These
'
perative throughout
conditions
der
fingers
a key,
and never
degree
un#
first.
Clef is
delayed.
Common
clef
as this
predominates
bove
is necessary
it is
hand.
difficult task to
result of this.
difficult
Both exceptions
the
left
hand starts
association,
than it is to learn,
and
substituting
and practise,
the
principle stated a
If
to avoid confusion.
mind, by practice
the
a new method
fixed in
of reading. This is
the
much more
NOTE-WRITING PRACTICE
The pupil should procure a music
ing notes and rests
seven
of different
values,
their values.
7-735-60
both on the
is invaluable
staff
written
conceivable
and
on leger
over them.
writ
lines
above
and below.
familiar
the fingers
Iasiazm2
Rzgr/ll ]
Lgf! Hwa'
Count four
The fingers
are numbered
i2
4 5, the thumb
2345432
Rzgt Hand
The pupil should write the correct fingering over the notes in following
of the notes and the proper keys.
exercises,but
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names
Lef:
Hand
_I
435-60
1
I
L
1
11
In'
11
11
LI
1
'L
I'.
if
I1
11
I'.
JIII'
11
I
1
1
1
lL
I.,
Ir'
II
11
Il,
Ir'
11
Il
n
F
L
I
f.
I
In
11
11
11
I
1W
II
Il
'_
I'
1
1
I'
In
11
11
II
I
1
[
II
{411
II'
II
IL
1
llI;
l
I
11
I
1
Ir'n
11
11
1
I
1 In
II'
I
I}
1
1
1
1
1
I'
I
I
/\
The following
LA
im#
q_ul
Sil~t
a--.
_LL
Ina
GII
it...
--
rnd-_d
ih.-.
si
_-_
--_
IL__
~r
c__
1T.
-
tL.
c_t
da-
d~
GI
Practise with each hand alone, then together, slowly and with careful attention to lifting and
the fingers
Count aloud,
9~735'60
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il
..
di
'OU
___
__J
l
___
l)
l
|
Hl-_
--
'
LIT
HH~e
l
i
_n_n
l)
4l
1
l
i , i
d..
_u_
_1
1
i
-..
__a
'
11
__
striking
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10
M0derat0(a a
10-735-60
moderae
17
speed)
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11
Moderato
11-78560
3
23
Moderato
34
3
4
5
4
12
Moderato
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Write in the correct fingering. Notice the dotted notes and use of the tie.
'
Moderato
3
.Olallne
Study definition
2- 735 ~60
for D.
0C
al Fine
al
Fin@
FINGER EXERCISES IN
Simple transposition;
8".11
NOTES
13
under notes.
30
31
42
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figul'e
3 denotes
31
To make all the fingers of both hands of equal strength and independence, practice the above exercises
with each hand alone and then with both together, continually;being careful that the touch is not constrained
in any way. Particularly see that the hands are held well over the keys, that the fingers act promptly both
in
1373560
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14
Moderato
34
14-73560
av
0-
1
1
1
1
A
|"|1"|'
'fr :i :ifi
. ,E
I
I
fff'f
00
.CL
II
l
l
2
I
lI
I
if@
5
21424
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IIlIIll
4ALTYI I
Ii
1 1
111111111
Allegro moderato
Allegretto
'735
-60
(moderately fast)
C. FREDRIC
16
Alle gretto
Allegretto
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43
Answering Voices
Write the
fingering
Little Canon
'
Canon
other hand.
12
one hand,
45
(Whole Rest)
Imitation
16-735-60
of what haspreviously
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'
Moderato
47
Moderato
Alle
49
17-735'60
tto
Mornmg Recreatlon
(
The Daily Round
48
2/-\
17
Trill
Slow
18
Exercises
the development of
facility
in
E--.
tu
.
*_1-_
n-.
I
122
L.
11
_
_;_H
v_-l
@__
p__
L_
.-
*ir-Fl
'LII
.___L
each measure
equal counts
:_T
Count
11
_El.
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i;
s_.
The following exercises should be practised with both hands together after they are well learned sep
arately. Play slowly, with accurate lift and stroke of the fingers, keeping them curved at all times.
Count 4 equal counts ln each measure
Practise and learn but oue exercise at atime; do not try several at once.
Il il
19
1231234234
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31
3421
23
54
. E. MLLER
5435
213
24
3m
245
56
54
Illustrating the
5
32
13
58
Notice
19735-60
2
SLI*
2m 5^
Maypole Dance
Alle gretto
rests
5313
4'
zo
Plaintive Mood
C. FREDRIC
Moderato
59
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Moderato
Moderato
Little
SOng
. FREDRIC
.61
A Merry Roundelay
Allegretto
(Bmg/It and /)
62
legato
63
54
20-
7235-60
FREDRIC
21
Learn the names of these notes, their location upon the keyboard and the name of theK^y-group
or Octavel (see diagram of keyboard) before proceeding to the following pages. This is imperativo,
in order to recognize the notes, and find them upon the keyboard, without halting or puzzling over
them when learning the following exercises and pieces.
64
l
1 11
l 1 I
1
LLI
.
1 l
11
I
I I
I
UL
I
I
1
I
I
1
1
I
.LI
'll
.
1
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1
g
:
1
.9.
::
..
.
1
l
l
.
:a
.
.
.a
_
_ *_
1
I
.
l
l
l
.
9- .9
~:
:a
_
._
._ .E
._
l
I
.
1
I
l
.
.2 .
._.
I
1 I
It.' !
~+1
f-
l
L
Fl
,_.
1
g..l
et.TI
l
'i'
i 1
if
I
ifi-Ff
4i
|
-s
-e
: 1
.1
l.
l.
/_\
Allegretto
65
(s
Allegro moderato
mf (moder
ely lo
/\
b)
.
.
11
I
r-I
il
4'-
11
I
.'
:9:: il
1
9.1:
l
1
I
I
I
I
_.
.f f
::.:
.:
._. __
g :2 I
l
I
I
''1
. FREDRIC
hand.
i*
0
C
March
C. FREDRIC
fast)
/_\
Accent
iS and
ABCDEDCB
3115 counts
for F clef?
of each measure.
./..\
s_.l :if:
21-735-6
1
:I
l.
:raffl
II
(moderate/y
6.6
::1_1_
Il
1
1
/`
ly
66
in Treble
1 1
1:
Graceful Dance
Il I
._
..11
t
._::':
:
.__ ._._._._
1
. I
'
,2.
1tz:
E:I
'
l-
pf-.t
FI
I
E
1
112152:
I
l 1 I
11 I
I
1
1
:t
9:91:
f
I
TF
2:
.L_:t
_1! ._
._ ._._,e_
gm
1
1
f
:
il.;
'-
l
1
0I
.I
l.
1:.: 1:.91 .
f..
I
I
I
I
:I
.
EI
'
-
f-
ABCDCBA
.
Fclef, which
__.-.
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22
Teachers
Part
(Two players,
Andante
67
dolce
68
Andante
22-735~60
(21151,
Alle grotto
egato
hands)
Secondo
or lower part)
F.
BEYER
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Pup1s Part
Andante
67
68
Andante
23-785-60
(Slow)
Alle gretto
4
/\.
Primo
23
hands)
/-\2
F. BEYER
am /d
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24
Repeat
Prlactise
24-'735-60
4
Finger Exercises.
each passage
slowly, payin
20 times
daily
3
'70
2
2
25
Round We Go
/`
Rereahon
All_egro moderato
72
(moderaelg
T\
dolce (sweetly)
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mf
A Lime Waltz
Allegretto.
3
V
73
gram'oso
25-735-60
very carefully.
F.BEYER
fast)
26
EXERcIsEs
RH
J!
JI
Ul
n.
.55_55
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74
75
26-735-60
05
dolce
Play with
Later on, in the Second Grade, transpose these ex
F.BEYER
m
27
Agile Fingers
Notice and study the Sharps and naturals
_ Moderato
76
mf
legato
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'l 2
27 73
up
28
Little Dialogue
HEINRICH 'OHLFAHR-T
Moderato
*I
78
mf
'
(sing-ing, sustained
1 4
flat
1 5
(sharp
F)
..
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mf
5
piece
Practice very slowly, without forcing the tone, keeping the fingers close to the keys. The fingers must
not lift high,or strike, they must move easily on the knuckles and gently take hold of each repeated key.
The hand must be held quiet but without stiffness or straining.
Do not push or bear Weight on held keys; the finger must simply rest easily on the keys to steadythehand.
Round Dance
Allegretto
legato
P/-\
L,
C.
29
FREDRIC
D. C; al '
21.
53
53
LIZ
release
thumb
4 le
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Fine
notes are played exactly together with careful, precise lift and stroke of the fingers.
30
Comodo (al a
2
1/
couvenz'enl
speed)
olee
1
2
4
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f/`
/`P/` /`
dolce
This study is in G major (one sharp.) The sharp sign at beginning each brace indicates that every
the study is to be sharped. (See introductory remarks on Sharps, flats etc.)
Theme
30 -735
-60
in
'
Moderato
A, EHMANT
31
'
motions.
4 3
Practise
43
43
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54354325
23
23423
2
3i -735-60
32
PREPARATORY
:
:-
'
Moderato
Sharp every
F and
C.
Simple Stor-y
J. ASCHER
5/
1121
5\_/
2
if and
l1.
/3
12
5,
23112
5.
semplice
1
2
86
'3\
over.
'_
i#
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major. (2 Sharps)
A
*l*
. .
'
am
23
,l
Key of
'
'
"
'.
R.
21
\_"___5/
Fine.
85
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513
Allegretto
4124553
Morning Song
F. BEYER
87
Key of
to
major. Flat B every time it appears in the piece.
By placing dots after each half and quarter note this piece would be in
33
12
-735-60
g (compound)
rhythm.
34
STUDY
For finger quality
Notice the use of Treble Clef for reading practise in L.H., also change to Bass Clef to indicate the same keys
Allegretto
5
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88
legato
Mode
89
STUDY
and 1 the rhythm could be changed to
to
:i
sz'mz'le
(Me same
z 5
_uf legato
(compound) rhythm.
.:
35
4
2
4
2
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90
LII.'
Thoroughly
35-735-60
CL
RII
aA slight motion
36
Country Dance
A Study for easy shifting of hand to different keyboard position
and practise in double notes
The last note under each slur should be shortened in value
Allegro moderato
343
93
4?
Allegretto
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-735 -60
mf
5
1
s
.
a
3
1
.
3
1
5
.
._4
36
y"
37
Staccato
Staccato is shortening the value of the note by releasing the key before the full value has expired;
this is done in single tones by simply releasing the key with the finger.
In double notes the keys are released by lifting the hand easily and gracefully from the wrist.
In a. continuous succession of staccato notes play from thewrist, lifting the hand for the silence
(or rest) and bringing it down with a quick easy movement for the keys; hold the fingers and hand in
of staccato notes liftthe
shape and do not lift or strike with the fingers. In continuous successions
hand before playing the first note to gain equality and precision in the motions.
Staccato is indicated by dots placed over, or under, the notes, or by the word staccato.
The dot over a note reduces its held value one half.
Played
Written
Played
A I
__'
EXAMPLE: 53;-
_ _ _ _i-
staecatzlssz'mo.
There is another form called portamento, written with both dots and slurs over the notes. This reduces
the held value ofthe notes one quarter, sometimes less in slow tempos.
Portamento is a pressure touch, the keys are pressed down and released in an easy graceful manner.
This touch calls for special illustration and training by the teacher. It is essentially smooth in charac
ter,and nice quality of tone is the thing to be most sought for.
_
Writ/en _
played
EXAMPLE:;=:===
Q]
'
Slow or widely detached single staccato notes are played with a pressure and released easilyand grace
fully. They must never be struck or played with a hard touch.
JEL/il
`_.
l-l-l
1_' -l
I' I'
.-..-.-.
-..r-
.--|'
Lrg-I
-l :ll'.
.-'l
96
1_7'
TRIADS
52
.Il>
52
. .JE
'__-_
52
.Ir-_
53
52
a 5
(Three tone chords)
These are played according to first instructions for double notes; hold the hand and fingers in shape,
and firm. Do not practise these until previous exercises are mastered._
_ _
5
53
53
ARPEGGIOS
Write
4
5
(The tones
ofthe
_ 4 5
a
5
succession.)
3:1
97
fi
The fingers must lift high and strike with quickness and precision. Do not push the keys, or use the
hand or arm to assist the fingers. Be sure that each finger lifts quickly to up position the instant
strz'h'es at its key.
tgl;
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A sharp point or dash over a note reduces the held value three quarters, and is called
W'rz'tten
Played
1
pzrt 6f(,i)nger
38
LITTLE PIECES
TWO
For
In the Garden
Moderato con grazia (moderately grace)
>
>
3
>/\.
3
5
(slowly)
Lento
2 4
notes
0h#
Release
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"if
1
3
39
Happy Hours
For Staccato
Allegretto
53
'53
>
2*
.\_/'
5/\
TWO
L.H.chords
531
2.
>
"if
101
Little Voices
HEINRICH V'OHLFAHRT
Moderat
1
"if
5324123
89-'735-60
L_...r-
__
12
'IPN
"'f
102
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121
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40
Little
#c
*t
40
-735-60
1
5121512
31
41
S o ng
1^
108
4
a tempo
213
l
3
41
Staccato playing
21'_\.1
.
3
l
_
~.
104
2
5
>^=
1
2
4
iA.
5
4
4
_
>,`
'
>
425
425
.3
31131"i
31
2 1
Vo.:
53
43434
1
[fand
41-785-60
Lqff and
1425
105
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in
Marziale
1
on same key
4251
313
13
.i
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42
STUDY
106
135
5
4
531
l42-735-60
3531
24
313542
25
53
41
2
4
1
53
2
legato
53423142 53423142
1
2
53
135
42
14
31
534
42
53
531
24
107
5
4
42
42
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43
108
(Play j?.
/dfi
43 73560
[L
87111 on
SM AL LWO 0D
Allegretto
"if
repeat)
al Fine
0.
44
Swing Song
A. EHMANT
Con moto
109
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Strictly
smv
5
~12
12
1
5
In slurs ending on ist and 4th counts the last note is shortened unless it is a dotted note.
41736 -60
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In
Allegro grazioso
110
45-736 -60
45
the Month
of May
/\
Notes
FRANZ
/T`\
ril/1rd.
BEHR
>
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46
Continue
343
Allegretto
d'1
112
16'73560
Allegretto
moderato
f,
_
Study
mf
>_
2345
Children@
'
4
47
The Kuokoo
Staccato Study
Allegrett
113
.l
i*
551
Finne
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EMIL BRESLAUER
"if
54
(short slur
ril/1rd.
. S
_
_5
I
D.
dolce
/'\
scherzando
f.
al Fine
48
The Juggler
For Skill in Changing Keyboard Position
Continue practising until speed is acquired
Allegro moderato
i
,2345.
/T
"'f
115
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Stu dy
Allegro
if
/`
L.H.
(fast)
"if
116
Key of A minor
.
dz'm.
Fz'ue
35
.f
Key of C major
518-785
60
D. 0.
al Fine
49
5:
4
2
z?
5
8
117
Play the notes exactly together
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'
If
5
3
one of the notes is repeated in the nextThird the finger must be released just before it is time to play
EXAMPLE
3
1
.5
5
3
1
118
played
wm'ffen
.
5
.s
'
wn'fen
.
}
'
played
iis
Mod
STUDIES
tO
119.z
be careful
[/
119.
49 -735-60
to strike the two notes of the thirds precisely together and play strictly legato.
'
1/\5
50
Moderato
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Moderato
STUDY
Practise very slowly and carefully
Moderato
4
/\
122
-2
4
\_/
Continue practising this study until control and skill are attained
50-735-60
E 105
51
GRACE NOTES
nere are two kinds of grace notes, the short grace note, or aociaccatura, and the long grace note,0r ap
poggiatura.
The grace note is
Short grace notes
are written without
Long grace notes
>
'
played
them hereafter
`
vAllegro grazioso
1.344
when
played
>f`
Polka
.. ":\
(fasfendgv-aee/hlly)
~
\?.2>\
. FREDRIC
Fine
Lf mamalo (well
no
4
'il
A11
al
Dutch Dance
.
/"
124
51-735-60
D.
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>
played thus:
EXAMPLES
notes
12
al Fine
34
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52-735-60
.
08
52
.132
53
0 dur
C minor
C' moll
G major
firstland
do not
E major Edur
Harmonic Form
E minor
E moll
major
11
G minor
G moll
B minor
]!
D major
D dur
F major
qur.
minor
moll
www
13
minor
mnu
dur
Bl major
Ba'm
millor
moll
Bl? minOI'
moll
53'735-60
^_,\
A major
.~^_"\
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and
and Minor
of same name.
54
El major Es dm'
Dl major
dur.
21
Eb minor
mall
C# minor
Us moll
F# major
Fis dur
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22
maJor.
s dur
minor As moll
F# minor
FI'S moll
24
54
Melodic M1101'
5
-735-60
A minor
A moll
C major
6' dur
@_i
Emoll
a'ur
A major
B minor
l! mall
II
I-
11
D maior
dur
11
C
F# minor
Fis
E major C# minor
Edur
(lis moll
moll
Il
Y;
..
'
These are the Tonic (key nnte) Chords, built on the degree of the Scale
maj
[I dur
'..nnIft-
o# min
Gis moll
E# maj
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Ai ma;
A:
E maj
maj
dm-
G min
moll
'
-!
nl-'ll_i-l-Dl
|`=ll
EL maj min"
Es dur 6' moll
: mln
maj
01's moll Aix md!
D# min
E min
F moll
ma; min
bes dur 1? moll
L
Gl maj El min
Ges
dur Es moll
maj
Ces dur
.Y|
Al min
,4s moll
'
Scales having some key signature belong to the same tonal family, so to speak, and are therefore related.
A minor is the relative minor of C major, but it is not the Scale of C minor. C major is the relative major
of A minor etc. Gradually learn these relations, but do not start too soon.Learn the"key note" scales first
`
beyond a possibility of a doubt.
128
55 -735
60
STUDY
56
Change
these studies to G major, name and think the notes in that keybefore
`
practising.
Also to D major.'
6 times
31
1294
/`
129. f
130
mf
l
l
56-7341304/
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The Brook
Allegretto
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Moderato
5
57-735-80
f4
M azurka
l
1
Allegro Vivace
f-
3
5`
f-
3
2.
j"
1.
czERNY
131
Waltz
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58
58
Peasants Polka
i?
134
73560
s?.
.
/
\
Moderato
.
.
viz'acz'ty)
_.
(
.
con vivacidad)
4
l
3
[ 133
/_\
Russian Folk Song
W>>
2.
4.
S 171
59-735-60
41)Observe
011-.
of
183 measure
(L.H.) Both
||
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31
_T*
Allegro
WALTZ
F. BEYER
\_/
played.
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60
Moderato
Allegro vivace
137
60
-735-60
?
23
.
1
5
3
>
>
/.5I
l
3
A. MOZART
Wd' d0]
diminuendo
cresce do
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61
Allegro comodo
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(I
(2)
Sempre
l'11000 07'680.
op.157,
NQ 3
(5 i
07880.
3
<
<>
<>
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62
Moderato
_
2
Slowly, with precise finger stroke and lift, at first. Later transpose to D, E, A and easier keys.
- 736-24
5_
5
DmeR-NOY,
'
011.176, NQ 4
'
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Allegro
Allegro
LEMOINE,
op.a'7,
LEMOINE op.
Na I
63
37, NQ 2
Studies Nos.3and 4
These two studies may be combined and played as one, by adding 0.6'. al Fine. Transpose to D,E,F,B,A and G
noting change in fingering; B maj. LH, F maj. RH., and reason therefor.
Sugg
3-736-24
II7
4-'736
24
32
.132
L'
5.'
D.
Coda
'L'S0.
dz'm.
Piu lento
rden.
Later transpose to
and
using
same fingering.
al
e
arq/lamme
-3'
Allegro moderato
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64
BUHGMULLER,opAc0,N921
5
(
p01'
l Coda
Moderato (grad
- lo
KHLER,
0p,50,
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3
6 8:7
65
N9 9
study)
2
4
KHLER,
op. 50, N9 1o
12
5
4 2
1)
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66
Allegretto animato
1
6 786
-24
T
raramente
._
Observe previous
_.
/\
Vse gu e
simile
suggestions
II-n
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Allegretto
4^2
Allegro comodo
7-736
-24
4
DUVERNOY,
Op.176,NQ
67
23
\2
0. ! .Fine
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68
Allegro moderato
Prnctise
4^
>
5/\`
8-786 -24
(increase lo
]!
1
5
increase lo Allegro)
KHLER 09157
/,__\
D.
NQ
/-_\
11
al Ene
9
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Allegro moderato
f
5
736 -24
/,__`\
LEMOIE,op.
31234
/\
5 '
speed.
Later uunspose
37,1@ 8
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7o
Moderato
1
10-736-24
/_\5
LEMOINE, op.37,
>
>
>
.
1
3
N9 10
2
14
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Allegro moderato
a)
LEMOINELW
D.
N9 20
71
15
al Fine
72
czERNY,
Allegro
16
4
2
01,439- 19
/`.
i
.fr/f
1
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Allegro
17
f2
4
Slowly 111111
firmly at first, constantly
736 24
12
CZERNY,
mOltO
i'cvlcwmg
1111111
the study can be played up to time.
Op.139, NQ 45
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A'v
f
J
E d
El 9L E3*
8
r'r'r'af
I
t.
TJ'
:I i:4
141
Avv
IA'
v
IA'
it
a' IA'
a' Il'
4' Id'4' Il'
4'IJ'
i' IA'd'
IA' Inlv
ld'
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Moderato
Allegro moderato
14
-736 -24
74
25
v
Slowly, the fingers lifting high and Dlaving with a firm, sure stroke.
/_\
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See
\_3//1
KoHLER, op.
Allegro giusto
f-
_1
157.
5<
() Practisc: Adagio
/__\
75
study.
1) 0 0 VTX/'.1
54
`\
341'
-736-24
4^
15
remarks-previous
(a)
molto
11-26
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76
Moderato
Trani-spose
16 736-24
legato
2
3
to easy keys.
lift
and control
at a slow tempo.
NQ
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Moderato
77
5
1
22
1'7-'736-24
5KOHLER,
2
Op. 50. NQ 4
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78
KoHLER,
>
18-736 24
>
Moderato
dolce ed expressie
>
>
5
1
>
I
op. . N92
>
.
14
LoEsoHHoRN, op. 66 8
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mf !
19-73624
62'1
Coda
..%
epoz'la Coda
312
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Allegro vivace
/-\1\
26
fao-736 24
4,
WN
CZERNY,
CZERNY,
"
80
Op. 139. N9
Allegro
24
()
. 82122
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Allegretto vivo
21-736-24
Later transpose
to D,
E, A,B,
=
_
32433
_
132435
, El
//g-
KOHLER,
Op.
242. N
?
10
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82
Allegro
moderato
eggz'ero
3
SCHUMANN,
Op. 68. NQ 14
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83
23
-736 -24
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Allegro
24
_
_
0L
84
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SECOND GRADE
Edited by
DENNE
Alle gretto
'
PIECES
Sonatine
85
CARL REINECKE.
op.127 A
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86
f'\
2 -7'3 7-4
n_zf a
/-'
z'z'o
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ANDANTINO
Semplice
2
Allegretto
RONDO PASTORALE
>
87
>
rz'l
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decrece.
The fingering
4-73'7-4
115
II
7a
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CHARLES
Edited
vas-1
CARL
89
by
Andantino
op.161, N95
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90
@HJHLES
739-2
y
,
Dollys Dreaming
Cradle Song
Andante con moto
THEODOR OESTEN
. 202,N94
DoIIy sleeps
1145
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Dollys Dream
91
Moderato
2-739-2
'con
1.
espressione
.
4
'
5
5
4253
atempo
3
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92
Char/as
4
'
740-2 B
Denne'w
Allegretto
Rose MazurkaJ
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94
Edited by
UHAHLES
742-2
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97
2-743-2
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98
CHARLES Maw/EE'
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scherzando,
pas'
la
Coda,
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100
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101
Da
2-748-2
Capo
al Fine
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102
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Allegro vivace
14
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The Clock
103
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Si
2.
13
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104
Valse Mlgnonne
Allegro
cograzla
>
15.1
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a lampo
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105
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106
Contemplauon
LICHNER
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107
2-752-2
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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108
Edited y_
CHARLES
753-2
Valse Bluette
J. B. DUVERNOY.
Allegro lmoderato
3
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Op.
272, N91
12
513
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2-758-2
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109
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110
754-4
Sonatina
Spiritoso
M.
'
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CLEMENTI.
Op. 36,N91
II
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111
Andantel
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112
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114
CHARLES ENNE
755-2
Cheerfulness
JOSEF Lw.
Allegro vivace
2
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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756-2
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3
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118
Edited by
22
758-2
(Slmplified)
CHAR/.ES JENNE
Allegretto grazioso
3
. Savon WEBER
2.
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II
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119
2-758 - 2
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120
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E/vNE
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121
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122
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123
@HARLES
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125
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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126
dolce
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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Edina
763-1
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127
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128
Edited by
CHARLES DENNEE
764-213
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Con anima
5
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Op. 31, N9 2
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129
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130
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dolce
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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132
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134
marcato
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AVE MARIA.
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81):
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Poco sostenuto
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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138
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140
Edited by
769'2
Polonaise
CHARLES DEAJEE
Tempo
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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141
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142
Playing Tag
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OHRLMSLMWMWF
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143
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144
Christmas Tree
Con moto
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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147
2-772-4
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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148
3-772-4
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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4-772-4
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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150
Ediled by
CHARLES DLXVIVEE
Moderato
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2-773-2
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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152
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Molto vivace
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Preparatory
For acquiring
to the
Exercises
Third
Grade
These exercises should be practiced throughout the Third and Fourth Grade, a fe_w at a t_i_me.Attain
the best possible results, both in independence and speed (in several different Keysg) before proceeding
with the practise of new ones.
Each Exercise must be repeated at least 10 or 20 times, omitting the closing note until the last re
petition. Practice at first each hand separately, afterward with both hands together, but always with a
quiet hand.Begin very slowly and increase the tempo gradually, as the fingers gain strength and flexibility.
These exercises should be practiced in all keys, using the same fingering.
Pay strict attention to correct hand position and precise motions of the fingers.
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ALOYs SCHMITT,
Op. 16
52413
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156
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157
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159
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160
all
exercises
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162
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163
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Exerclses
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SCA'LES
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44
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ARPEGGIOS
rlsnd'
for
321
separate
hand practise.
4142
Common Chord
Le
[]
313212
1231321
132
JRE
i
Transpose into every key. In
chords which begin on a black
12111321123132123132
inl
ILM
n.11]
l'
123132123132123
414
14
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32
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12
142
32'
23
Transpose into
every key
and extend ad lib.
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.(5
(5)
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(5)
(5)
23
23
Chord of Diminished
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im
OAS
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3
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:Ozu
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025.252 >=._><2
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<
Edited by
I
DENNEE
CHARLES
167
THIRD GRADE
Allegro moderato
/_` /T_\\
/\ /` /\
Adapted from
12
STUDIES.
12
DUVERNOY,
op. 120,
N9 5
4/_\_
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$66
\/
Holding the half notes affords excellent practise for security :md independem'e in the first slow practise
775-42
HI
168
by
DENM'E
LE_ COUPPEY,
5
Op. 20, N9 4
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pakggbro
Frm-tis slmvly and wit h' {- pre1-1k i-n nt fir>t.then work for lightness and agility inlthe finger action.
~
n.
)'71-5-422
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Allegro
4
3-775-
42
:138)
5
BERTINI
5
Op 29 N96
169
III-10
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170
Allegro (J
4-775- 42
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op 29 No
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ETUDE
Allegro
1
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3
171
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3
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BERTINI
lI-29
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Scherzoso
6-7'75
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muy!
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173
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2
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174
CHARLES
776
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by
l
Allegro
.
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(Juf-12)
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13
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op. 20,
N9 13
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41
.
41
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175
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176
10-775
BERENS.
Allegro (:
42
1
1
op.
61, N91
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Molto
10
11 '775 -42
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allegro
()
177
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CZERNY.
d.
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12-7'75
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*.
.
_11000
a tempo
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risoluto
Allegro vivace
Edited 617
CHARLES /
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HELLER,op.45,
NQ 2.
mosso
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Edi/ed j/
'
v
UHARLS
BENNEE
Allegro
fi
13
Edited y
I
CHARLES /
Allegro
5
.
179
from
CZERNY. Op. 821,
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4
.
1
2
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OP 821,
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CHARLES DENNEE
dz'led by
lf
Ibis
14
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4Z
Allegro risoluto
5
2
1.
{e7/Ipo
study should
5
be t1;ansposed
LEMOINE.
is attained..
Op. 37, NQ 49
.
.
m M
lauw l
.NX
Il
@
:
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S.. . 5.
~e
182
Ediled by
ENNE
czERNY.
op. 821,51 43
Edited by
CHARLES
BERENS,
Allegro risoluto
17'
op. 61,
N9 5
UP_
'I
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Allegro moderato
becomes
16775 42
becomes
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183
17-775-42
111 - 18
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184
18
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42
.
BERENS.61,N99
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185
19
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42
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186
CHARLES
20-775-
42
Moderato. (J
= 69)
BERENS_ 61
NQ
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187
\/
3
Edz'led by
.ff
1
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Allegretto,
5
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BERTIJI.
9 22.
Op. 29
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21.
/"/\.."`
188
CHARLES
'/
'WLF
22-775-42
Presto
15432
>`_/
15
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'
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DURING
15
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. 8,
1.5
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189
23
77542
>\--"
, UA
p
A.
d
a tempo
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190
CHAR/,Es
Edited by
24
Enve
22
775-42
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191
25 77
42
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192
26- '775-42
193
by
CZERNY
Allegro
Op. 636, N9 12
P -
23
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ea.
\_,/
Do not attempt speed until the fingers feel sure at . slow tempo, then gradually increase
eventually Presto.
27.- 775 - 42
to Allegro,
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194
am'
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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196
d_scrsc.
. 45, NQ
15
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27
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.
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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UHAHLS
ff
Edited by
'
*i
..
33.
.
.
2.
riten.
ff
teu.
Practise very slowly and firmly, for precision,at first. Review constantly for speed and freedom.
31-775-42
5164
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198
Edited by l
CHARLES bWNE'I
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pm
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33
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200
29
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201
542
80
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5
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202
LOESCHHORN
Op.38,N9 23
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s7-775-42
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204
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32
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39- 775
42
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206
Edited by
_
CHARLES DENNEE'
Presto volante
mastered.
40-'7'75-42
_
increasing
CzERNY, Op.299,
N9
32.
am
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207
50-
41775 42
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208
42-775-42
ETUDE
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211
Coquetry
Op. 56, N9 3
poco marcru'o
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214
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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217
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218
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219
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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222
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I
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223
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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224
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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by
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226
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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227
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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228
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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2-785-4
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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230
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
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232
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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235
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
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237
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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Allegro
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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228
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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532A
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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230
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
4-785-4
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:16 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
Edited by
_
CHARLES DENNEE
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Ik
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
237
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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238
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239
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240
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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244
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
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246
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247
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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248
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
791-2
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251
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252
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254
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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256
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Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
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dfd by
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BALFE
GRADE
FOURTH
PIECES
SONATA
LIBRARY of MUSIC
Ignace J.Paderewski
Edited by
DOMENICO
SCARLA'ITI
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INDEXES
ALPHABETICAL
SUPPLEMENTAL
INDEX BY TITLES AND COMPOSERS
INDEX 0F GRADED
C0MPLETEGRADEDINDEX
STUDY
.
.
.
-
MATERIAL
CONTAINED
1N
-
VOL.
-
387
PAGE
393
391
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GENERAL INDEX
I-V
Two-Voice Invention,
Op. 192 .
11
482
.
.
244
11
278
83
353
135
242
11
590
II
540
11
337
Major .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
BRAHMs, JOHANNES
.
Capriccio, Op. 76, No.
Major
Hungarian Dance,
Major
Hungarian Dance,
Hungarian Dance.
Minor
Intermezzo, Op. 76, No.
.
.
Rhapsodc, Op. 79, No.
Rhapsodie. Op. 79, No.2.
Waltzes,Op.39. . . .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
609
376
211
387
328
144
156
150
II
572
FELIX
La Coquette
668
III
I I
1 I
merveilleuse
764
144
435
590
BLANCO, PEDRO
.
Capricho. D Minor
Intermedio,
Minor
Serenata,
Minor .
BoRowsKI,
. .
. .
518
693
II
976
IV
356
1060
1090
331
11
II
IV
BLANCARD, JEANNE
Impromptu, E-Hat
III
II
III
V
V
II
.
.
.
II
IV
II
BERG, IRENEE
Bouquet of Roses
(Serbede Roses
Chant damour
.
Song of Love
La Promenade de
The Coquette
Plaintive Chanson
..........
II
II
11
II
II
11
III
2,
III
III
I
I
I
.
.
.........
.........
..........
.......
............
...........
.............
769
313
l 7
..........
..............
......................
..........
............
..............
..........................
....................
No.
A Minor
and Fugue,
BART-LETT, HOMER N.
Le Matin, Mazurka,
C
.
Capriccio, Op. 76, No. 2 ...... BRAHMs
.....
Capriccio, F-sharp Minor ....MENDEI.ssoHN
SCARLATTI
Capriccio, E Major
HUMMEL
Caprice, Op. 49
Caprice la Scarlatti. Op. 14,
PADEREwsKI
No. 3
BLANCO
Capricho, D Minor
Chaconne, Op. 62
DURAND
BERG
Chant dAmour
No.
Op
Chant sans paroles,
2.
TscHAIxowsKY
3
Consolation, Op. 30. No. 3....MENnELssoHN ......
REINHOLD
Coquetry
111
II 1
BACH-Llsz'r
Prelude
la
.............
..........................
.............
.............
NIO.
. .
.S.
FE
....................
.............
180
............ IV
............ IV
........... II
.............. V
I
........ IV
..........
...........
...........
........
...........
............
..............
........
.............
..........
Minuet,G...........
..............
..............
.....................
...........
avotte, D Minor
. . . . . . .
Gavotte,
Major, from French Suite No.
Gavotte,
Minor
. . . . . .
BAcHMANN, G.
Song of the Ploughman
B
BACH,
............. III
III
.........................
..
Valse,Op.36,No.7
.
52;
II
...................
................
............
ARENSKY, ANTON
Basso Ostinato, Op. 5 . .
By the Sea (Prs de la mer)
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...............
.......... II
.............. II
........... II
.............. 11
........ 11
............. V
Zortzico...........I
ALBERT, EUGEN D
Gavotte and Musette, Op. 1, No. 4
PAG:
Vol.
ALBENiz, I.
........
........
BEETHOVEN
BEETHOVEN
GG
...........
.....................
Andante, F Major
Andante
From Kreutzer Sonata
Andante with Variations,
Vol..
1
1
IV
IV
976
193
184
1009
1030
683
GENERAL INDEX
Vol..
11
11
1
PACE
540
572
10
1234
708
9,
2 1
II
1
II
II
II
II
111
III
Joys
_. .
The Maidens Wish
COUPERIN, F.
The Nun
11
II
458
256
II
357
........... 1
............. II
........... 1
.............. IV
......................
..............
.......................
...............
...................
11
II
............ II
461
II
11
......
....................
II
DE BLANCK, HUBERT
En la
. .
Plaga
At the
each
DEnUssY, CLAUDE
Reverie .
DUEols, TH.
A Sketch (Esquisse)
DURAND, AUGUSTE
Chaconne, Op. 62
Dvox, ANTON
Humoreske, Op. 101, No.
Humoresque
Slavic Dance. Op. 46, No.
Waltz, Op. 54, No.
II
501
II
435
II
II
II
476
551
.............
.............
.............
..............
.........
........
IV
I
G
Gavotte, D Minor
. . .BACH
From English Suite No. VI
...BACH
Gavotte, G Minor .
From English Suite No. III
Gavotte, G Major ............BACH
From French Suite No.
...SILAs
Gavotte, E Minor
GLUCK-BRAHMS
Gavotte
From Iphigenie in Aulis"
Gavotte and Musette, Op. 1,
DAI.BERT
No. 4
From Suite in D Minor
BERG
Gerbe de Roses
GALUPPI
Gigue
LIszT
Gnomenreigen
ScHARwENKA ......
Gondollied
.........
Good Night, Op. 96, No. 12...LoEscHoRN
Gypsy Rondo, G Major ...... HAYDN
From Trio No. V
CHOPIN-Lrsz'r
............
........................
....................
IV
............
..............
..............
..........
.........
.........
...........
...........
..........
...............
.........
...........
.......................
..............
..............
..............
CHOPIN, FREDERIC
Ballade, Op. 23
Ballade, Op. 47
.
Berceuse, Op. 57 .
Etude, Op. 10, No.
Etude, Op. 10, No
Etude, Op. 10, No.
Etude, Op. 25, No.
Etude, Op. 25, No.
Etude, Op. 25, No.
Etude, Op. 25, No. 2
Impromptu, Op. 36 .
Mazurka, Op. 59, No.
Mazurka, Op.
No.
.
Mazurka, Op. 50, No.
Nocturne, Op.
No.
Nocturne, Op, 15, No.
Nocturne, Op. 15, No.
Nocturne, Op. 27, No.
Nocturne, Op. 27, No.
Nocturne, Op. 48, No.
Polonaise, Op. 40, No.
Polonaise, Op. 40, No
Polonaise, A-flat Majo
Prelude, Op. 28, No.
Prelude, Op. 28, No.
Prelude, Op. 28, No.
Prelude, Op. 28, No.
Prelude, Op. 28, No. 20
Scherzo, Op. 39 . .
Valse, Op. 34, No.
Valse, Op. 42 . . .
Valse, Op. 64, No.
.
Valse, Op. 64, No.
6,
II
Eroticon, No. 2, D-flat ....... SJGREN ...........
II
II
Erotik, Op. 43, No. 5 .......... GRIEG .. . ..
..
II
[l']EscarpOlette
..
..... .0=
II
Esquisse ..................... DUBOIS ............
II
Etincelles, Op. 36, No. 6 ....... MoszkowsKI .......
Etude, Op. 10, No. 3 ......... CHOPIN ............ 111
Etude, Op. 10, No. 5 ......... CHOPIN ............ 111
Etude, Op. lO, No. 12 ........ CHOPIN ............ 111
1
Etude, Op. 25, No. 1 ......... CHOPIN ............
Etude, Op. 25, No. 7 ......... CHOPIN .. .`......... 111
Etude, Op. 25, No. 9 ......... CHoPIN ............ III
Etude, Op. 25, No. 12 ........ CHOPIN ............ IV
Etude, Op. 23, No. 2 ......... RUBINSTEIN ........ III
II
Etude Mignonne, Op. 16, No. 1.SCHTT ............
II
Evensong, Op. 140, No. 5 ..... LACOMBE ..........
l
CHAMINADE, C.
Automne, Etude de Concert, Op. 35, No. 2 .
Scarf Dance .
The Flatterer (La Lisonjera).
-.
CERVANTES, IGNACIO
Danzas Cubanas
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H...
<<<<<<<
.............
..........
...........
...............
.................
Coquette, The
BERC
Coquette, La
BoROwsKI
Cradle Song, Op. 4, No. 3 ..... :
2 1 l 3
388
EILENBERG, RICHARD
First Heart Throbs, Op. 50
ELGAR, EDWARD
Loves Greeting .
Salut d'amour, Op. 12
II
384
II
586
............
.............
.......................
........
11
.......... II
FERRATA, G.
Serenata Romanesca
FIELD, JOHN
Nocturne, No. V, B-at
43
219
GENERAL
ALPHABETICAL INDEX 0F TITLES
...........
BRAHMS ...........
BRAHMs ...........
BRAHMS ...........
6...Llsz'r ..............
10..LrszT ..............
l3..LIszT ..............
..................
Major ................
Major ................
Minor ................
Humoreske
Hungarian Dances
Hungarian
Hungarian
Hungarian
Rhapsody, No.
Rhapsqdy, No.
Rhapsody, No.
...... '. ..
..........
............
..........
..........
..........
..........
..........
............
..............
...........
............
...........
.............
.............
.............
..........
.........
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........
.........
IV
IV
1V
PAGE
476
193
190
184
1293
1304
1317
III
111
II
III
V
11
II
II
II
I
111
293
I
Joyful Moment .............. REBIKol-r ..........
onful Wanderer, The ....... WoLFF .............
June, Op. 37, No. 6 ........... TscHAlKowsKv
Barcarolle, from The Seasons"
11
II
V
407
339
322
........
213
.....................
..........
.....................
................
................
G
GADE, NIELs W.
Barcarolle, Op. 19
GALUPPI, BALDAssoRE
. . . .
Gigue
Sonata, D Major
GLUcK-BRAHMS
Gavotte, from Iphigenie in Aulis
GonAno, B.
Au Matin, Op. 83
GoUNon, CH.
Funeral March of a Marionette .
GRAY, ARTHUR
Les Nrides .
The Nereids
Un fte dt . .
A Summer Holiday
, EDVARD
Dance, from Peer Gynt, Op. 46,
Anita@
. 3 . . . . . . . .
Beside the Cradle, Op. 62, No. 5
Au der Wiege
Eln Dance, Op. 12, No. 4
. . . .
Erotik (Pome rotique), Op. 43, No. 5
In the Hall of the Mountain King
.
From Peer Gynt," Op. 46, No. 4
Morning, from Peer Gynt," Op. 46, No. 1
Nocturne, Op. 54, No. 4 . . . . . .
Bridal Procession, Op. 19 .
Norwegian
The Death of , from Peer Gynt ;
Ase's Tod, Op. 46, No. 2
43, No. 6
Sprin
Op.ing
An den rh
Wchterlied, Op. 12, No. 3
"atcllman's Song
GRNFELD, ALFRED
Romance. Op. 45, No. 1
GUILMANT, ALEx.
.
Tarantelle
............ II
.............. I
............ 11
...HANDEL
From Xerxes
Lisz'r
Liebestraume. No. 3
Lied der Sehnsucht, Op. 22,
No. 2
Nicom:
Lisonjera, La
472
255
II
426
450
.......... II
............. II
406
586
........
HABERBIER, E.
Flower of Spring, Op. 53, No. 3 .
HANDEL, G. F.
.
Fugue, E Minor .
Largo, from Xerxes .
Suite, D Minor
.
Variations, Major
. .
"The Harmonicas Blacksmith"
HAYDN, FRANZ Jos.
Andante with Variations, F Minor .
Gypsy Rondo from Trio, No. V, G Major
. . .
Ochsenmenuett ( Minuet)
HENsELr,
Berceuse
HUMMEL, J. N.
Caprice, Op.. 49 .
............
..........
.....................
.......................
.........
............
Madrigals, Op. 39
WILLIAMS
111
Maidens Wish, The
CHoPIN-Llsz'r
..... I
Mamey
PAs'roR
II
Man lebt nur einmal .........STRAUss-TAUSIG
IV
March
SCHARwENKA ......
V
March of the Flower Girls....WACHs
11
March of the Little Tin Sol
diers
PIERN
11
Marche Militaire ......
SCHUBERT-TAUSIG
.. IV
Matin, Le, Op. 192 ..
BARTLETT
11
Mazurka, Major
ScARAMUzzA .......
I
Mazurka, Op. 6. No. 1
I
CHOPIN
7
Mazurka, Op. 10, No. 3
MoszKowsKl
......
Mazurka, Op. 24, No. 2 ....... LEscHE'rlzKY
....... 11
Mazurka, Op. 50, No. l .......
I
Mazurka, Op. 59, No. 3 ....... CHoPIN
I
Melodie, Op. 16, No. 2
PADEREwsKI
RquNsTEIN ........
Melody, Op. 3. No. 1
Menuet lantique
PADEREwsKI ........
V
Menuetto, B Minor
SCHUBERT
V
......................
.........
............
............
..........
........
.......
........
.........
...........
..........
PAG:
222
213
229
236
428
463
634
647
374
240
612
650
638
34
642
328
2'10
111
751
11
558
Largo
389
Impromptu, Op. 36
Impromptu, Op. 90, No. 1....ScHUBER'r
Impromptu, Op. 90. No. 4....SCHUBERT
Impromptu, Op. 142, No. l...ScHUpERT
Impromptu, Op. 142, No. 2...ScHUBER'r
Impromptu, Op. 142, No. 3...ScHUBl-:RT
1 wunderschnen Monat Mai. MERKEL
In the Hall of the Mountain
. ..... . ...... GRIEG
King rom "Peer Gynt"
In the Merry Month of May. .MERKEL
Intermedio, E Major
BLANCO
Intermezzo, Op. 76. No. 7 ..... BRAHMS
Invention, TwoVoice, No. l..BACH
Invitation to the Dance, Op. 65.WEBER
Italian Concerto
....BACH
INDEX
............
............
....... II
II
..........
ILYNSKY, ALEX.
Berceuse, Op. 13, No. 7
JENSEN
The Mill
JENSEN-NIEMANN
Murmuring
Zephyrs
Murmelndes Lftchen
II
III
III
II
V
757
472
338
375
262
135
III
693
J
215
II
614
II
602
KARGANorF,
Berceuse, Op. 20, No. 11
KJERULF, H.
4, No. 3 .
Cradle Song,
.`
.
L
LACoMBE, P.
The Angelus, Op. 140. No. l .
Evensong, Op. 140, No. 5 .
10
II
II
494
475
GENERAL
390
ALPHABETICAL INDEX or TITLES
..........
....................
........
...............
............
......................
.............
..........................
.........
........
......
.....................
VoL.
V
V
V
V
V
V
V
........
............
.......
............
..............
............
............ I
............ I
.......... II
.......... 11
.............
............
PAGE
232
117
215
333
225
12.3
60
327
326
407
356
IV
1038
II
614
I
I
261
................
.......
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
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........ II
.............. II
............ V
............ I
............ I
II
............ I
............ IV
............ 1V
......
..............
...................
576
II
............
............
.....................
...........
.........
............
262
11
629
129
1275
673
IV
............. III
..............
...............
..............
..........
........
........................
............
SCHUMANN ........
Papillons, Op. 2
Peer Gynt, Suite No.1,0p.46.GRIEG
ROMANIELLO
Pene damore
SCHNECKER
Petit ballet, Un
RAVINA
Petit bolero, Op. 62
Picture of an Ancient World. .REBIKOFF
REBIKoFF
Pictures for Children
PASTOR
Pia
BERG
Plaintive chanson
Pome rotique. Op. 43, No. 5.GRIEG
Polish Dance, Op. 3. No. 1... .ScHARwENKA ......
Polonaise, Op. 40, No. 1 ..... CHOPIN
Polonaise, Op. 40. No. 2 ..... CHOPIN
Polonaise, A-at Major ...... CHoPIN
Polonaise, Major
Llsz'r
POLDINI
Poupe Valsante
CHOPIN ..
Prelude, Op. 28, No. 6
CHOPIN
Prelude, Op. 28, No. 7
Prelude, Op. 28, No. 15...... CHOPIN ..
Prelude, Op. 28, No. 17...... CHOPIN
Prelude, Op. 28, No. 20 ...... CHoPIN
RACHMANINOFF
Prelude, Op. 3. No. 2
Prelude, Op. 11 .............SCRIABIN
Prelude, Left Hand Alone ...SCRIABIN
Prelude, Minor
SMI-:TANA
..........
............
.......
......
........
...........
..............
.......
........
............
..........
..........
............
.............
..............
............
............
............
..............
............
11
II
II
II
11
II
11
11
II
11
III
I
IV
11
V
V
............ 1
............ 11
III
.......... I
.......... 111
.......... II
INDEX
COMPOSERSIN ALPHABETICAL ORDER
LEscHE'rIZRv, THEODOR
Mazurka, Op. 24, N o. 2
.
LEVY, LUIS
Tango Burlesco, Op. 28 .
LIADow, ANAToLE
Berceuse, Op. 24, No. 2
.
The Music Box, Op. 32
.
Une Tabatire musique
LISz-r, FRANZ
Gnomenreigen
. .
Dance of the Gnomes
Hungarian Rhapsody, No. 6
Hungarian Rhapsody, No. 10
Hungarian Rhapsody, No. 13
La Romanesca
. . .
Liebestraum, No. 3 . . .
Polonaise, Major . . .
Rakoczy March
. . . .
Un sospiro, Etude . . .
Valse Impromptu
Waldesrauschen
LoEscHoRN, A.
Good Night, Op. 96, No. 12
Vol..
II
II
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
PAGE
IV
IV
IV
IV
III
I
IV
IV
III
IV
11
MAcDowELL, EDWARD
Scotch Poem, Op. 31, No. 2 . . . . .
Witches Dance, Op. 17, No. 2 . . . .
MARTINI, GIOVANNI BATTISTA
Balletto
. . . . . . . . . . .
MASON, WILLIAM
Spring-Dawn,
Op. 20 (Mazurka-Caprice)
.
MENDI-:LSSOHN
Capriccio, F-sharp Minor . . . . . .
Consolation (Song Without Words) No. 9,
. . . . .
Op. 30, No.3
Rondo Capriccio, F-sharp Minor
. . .
Scherzo a Capriccio, F-shar
Minor
. .
Song Without Words, Op. 3, No. 4
. .
Song Without Words (Spinning Song) No.
34, . 67, No. 4 . . . . . . .
Spring Song (Song Without Words) No. 30
Variations,
Op. 82 . . . . . . . .
MENDELsSoHN-LISZT
Auf Fliigeln des Gesanges
. . . . .
Wings of Song
MERKEL, G.
In the Merry Month of May, Op. 25 . .
1m wunderschnenMonat Mai
Moszxowsicr, MORITZ
Etincelles, Op. 36, No. 6 . . . . . .
Mazurka, Op. 10, No. 3
. . . . . .
Serenata, Op. 15, No. l
. . . . .' .
MOZART, W. A.
Fantasia, C Minor, No. 2 . . . . . .
. . .
Menuet and Trio, G Major
Minuet, E-flat
. . . . . . . . .
Minuet, from Don Iuan
. . . . .
Menuet and Allegro
. . . . . . .
Turkish March, from Sonata in A . . .
II
620
303
II
492
II
544
197
111
376
III
V
V
1
11
II
II
IV
I
V
V
NIconE, J. L.
Lied der Sehnsucht, Op. 22, No. 2
Song of Longing
PADEREWSKI, I. I.
Caprice la Scarlatti, Op. 14, No. 3
Melodie, Op. 16, No. 2
. . . .
Minuet, Op. 14, No. 1 . . . . .
Thme Vari . . . . . . . .
PASTOR, RAI-AEL
Three Cuban Dances
Mamey
. . . . . . . . .
Pia
. . . . . . . . . .
. . . . . . . . .
Zapote
PIERN, GABRIEL
March of the Little Tin Soldiers
.
Marche des petits soldatsde plomb
.
.
.
.
.
.
.
.
.
.
11
111
11
764
338
1138
.
.
.
II
II
II
454
II
IV
456
414
.......... III
............. II
.............
540
.............
.........
........
........
.....................
..............
...........
........
............
...........
...........
...........
.......
.............
.......
.........
..............
..........
........
......
..............
......
..........
LIszT
Rakoczy March
STRAUss
Reverie, Op. 9, No. 4
SCHUMANN
Reverie, Op. 15, No. 7
SCHTT
Reverie, Op. 34, No. 5
DEEUssY
..............
............
120
624
11
508
II
II
I
IV
IV
1009
1030
III
II
751
II
II
III
III
111
175
626
930
743
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
S
Sad Story Which Ends Hap
pily, A
Salut damour, Op. 12
Scarf Dance
Scherzo, Op. 39
Scherzo .capriccio, F-sharp
II
II
IV
111
II
II
II
V
V
II
II
II
III
III
.........
.................
.........
...............
............
............
..........
............
............
...............
.....................
......................
.....................
.....................
.....................
..........
.........
.........
.................
............
..........
................
........
........
........
........
........
...........
........
..........
............
............. ll
........
..............
............
...........
.............
II
Valsante
R
RACHMANINOFF, SERGE
Barcarolle, Op. lO, No. 3 .
Prelude, Op. 3, No. 2 . .
Valse, Op. 10, No. 2
RAFE, JOACHIM
La Fileuse, Op. 157, No. 2
Romance, Op. 2 . . . .
RAVINA, HENRI
Petit Bolero, Op. 62
REBIKOEF, V.
The Devils are Amused
Les demonssamusent
Pictures for Children
Tableaux pour enfants
L'escar olette
The rapeze
Moment 'oyeux .
Joyful
omcnt
Une fillette im lore sa mre . .
A Little Girl mploresHer Mother
Vision du monde anti ue .
Picture of an Ancient
orld
Une histoire triste qui finit bien .
Sad Story which Ends Happily
REYNECKE, CARL
Sonatine, Op. 127
REINHOLD
Coquetry
. . . . . .
Improm tu, Op. 28, No. 2 .
ROMANIELLO,
UIcI
Pene damore
Heart Yearnings
RUEINSTEIN, A.
Barcarolle, A Minor
Barcarolle, F Minor
. .
Barcarolle, Op. 50, No. 3 .
Barcarolle, G Major, No. 4
Etude, Op. 23, No. 2
. .
Melody in F, . 3, No. 1
.
Valse Caprice,
11at Major .
S
SAiNT-SAENs,
C.
Romance sans paroles .
ScAnLA-m
Capriccio, Major .
Sonata, A Major
ScARAMUzzA, VINCENZO
Mazurka, Major _
ScHARwENKA, PHILIP?
Boat Song, Gondollied, Op. 63, No. 3
Menuetto, D Major . . . . . .
ScHARwENKA, XAVER
March, Op. 62, No. 1 . .
Polish Dance, Op. 3, No. 1
5. . .
Un Petit Ballet .
SCHUBERT, FRANZ
Impromptu, Op. 90, No. 1 .
Impromptu, Op. 90. No. 4 .
Impromptu, Op. 142, No. l
Impromptu, Op. 142, No. 2
Impromptu, Op. 142, No. 3
Menuetto, B Minor . . . . .
Moment Musicale, Op. 94, No. 3 .
ScHUBEnT-LrszT
Funeral March
Trauermarsch
Soire de Vienne, Major
Soire de Vienne, Minor
SCHUBERT-TAUSIG
Marche Militaire
SCHUMANN, ROBERT
Knight Rupert, Op. 68, No. 12
Merry Farmer, The . . . .
Nachtstck, Op. 23, No. 4 .
VOL.
PAGE
II
344
102
111
162
II
II
II
410
II
II
II
IV
IV
III
III
III
892
1263
21
117
576
3
VOI.. PAGE
1330
........ IV
391
<
INDEX
GENERAL
GENERAL
392
ALPHABETICAL INDEx OF TITLES
T
Tabatire musique, Une, Op.
2
LIAnOw
Tango Burlesco, Op. 28 ...... LEVY
GUILMANT
Tarantelle
Theme and Variations, Op. 9,
TSCHAIKOWSKY
No. 6
PADEREWSKI
Thme Vari
PASTOR
Three Cuban Dances
To Spring, Op. 43, No. 6 ..... GRIEG
REBIKOEF
Trapeze, The
ScI-IUBERT-LISZT
Trauermarsch
.......
Trumerei, Op. 15, No. 7 ..... ScIIUMANN
Trumerei, Op. 9, No. 4 ...... STRAUSS
MOZART
Turkish March
............
..............
.........
.........................
...................
.....................
................
.........
................
...............
Two-Voice Invention
IMG!l
1
11
11
662
558
III
....... IV
............ II
............. V
.......... II
..............
No. 1. BACH
..........
............
..............
IV
II
913
1138
452
410
1209
11
624
272
l293
11
579
U
Uncle Neds Story, Op. 25, No.
WILSON
1
From In Georgia"
..........................
...........
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
.......... I
........... 1
........... I
............ V
........... 111
I
.......... V
........ IV
.............. III
............ II
........... V
.........
.........
................
.........
.........
.........
...............
............
ARENSKY
Valse, .36, No. 7
CHOPIN
Valse, Op. 34, No. l
CHOPIN
Valse, Op. 42
CHOPIN
Valse, Op. 64, No. 1
CI-IOPIN
Valse, Op. 64, No. 2
RACIIMANINOFF
Valse, Op. 10, No. 2
SPINDLER
Valse arienne
RURINSTEIN
Valse Impromptu
Major...LIszT
E-at
Valse-Caprice
Valse Mignonne, Op. 16, No. 2.ScII1'r
HANLEL
Variations, Major
The Harmonious Blacksmith
MEImELssoHN
Variations, Op. 82
Vision du monde ancien ......
Vogel als Prophet, Op. 82, No.
7
Sc.IUMANN
.........
............
.....
.............
..............
...........
..........
........
..............
...........
........
........
..............
.........
.............
..........................
.........
.....................
.......
IV
II
III
II
210
1221
440
683
496
II
210
582
II
496
V
I
129
303
Z
Zapote
Zortzico
.......................
.....................
PASTOR
ALBENIZ
............ II
........... I
III
TSCHAIKowsKY,
P.
Barcarolle, lune, Op. 37, No. 6 .
Chant sans paroles, Op. 2, No. 3 .
Song Without 'Ords
Theme and Variations, Op. 19, No. 6
W
Wchterlied, Op. 12, No. 3....GRIEG
LISZ'T
'Waldesrauschen
DVORAK
\Valtz, Op. 54, No. 1
BRAHMS
Waltzes, Op. 39
Warum? Op. 12, No. 3 ....... SCHUMANN
Watchmans Song, Op. 12, No.
GRn-:G
3
Whos Afraid? Op. 25, No. 2. .\VILSON
From In Georgia
ScHuMANN
Why? Op. 12, No. 3
Wild Horseman, The, Op. 68,
SCHUMANN
No. 8
Witches' Dance, Op. 17, No. 2.MAcDowELL
SCHUMANN, ROBERT
Norse Song, Op. 68, No. 14
Papillons, Op. 2 . . . .
Romanze, Op. 28, No. 2
. . .
Schlummerlied, Op. 124, No. 16 .
Soldiersy March, Op. 68, No. 2
Trumerei, Op. 15, No. 7 . . .
Vogel als Prophet, Op. 82, No. 7
Bird as Prophet
Warum? Op. 12, No. 3
Why?
Wild Horseman, The, Op. 68, No. 8
ScHUT-r, EDUARD
Etude Mignonne, Op. 16, No. 1 .
Reverie, Op. 34, No. 5 . . . .
Valse Mignonne, Op. 16, No. 2 .
SCRIABINE, ALEX.
Prelude, Op. 11 . . . . . . .
I
Prelude, for the Left Hand Alone .
III
SIBELIUS
Romance, Op. 24, No. 9
SILAs, E.
Gavotte, E Minor
II
SINDINO, CHRISTIAN
Frlingsrauschen
. . . .
Rustle of Spring, Op. 32, No. 3
SJOREN, EMIL
Eroticon, No. 2, D-Hat .
II
SMETANA, B.
Prelude
II
SMITH, ROY LAMoNT
Oriental Dance
SDERMANN, A.
Norwegian W'edding March . . .
- Swedish wedding March, No. 1, F Maj'or
v
SPINDLER, FRITZ
Valse arienne
STRAUSS, RICHARD
. . . . .
Reverie
II
Trumerci, Op. 9, No. 4
STRAUss-TAUSIG
Man lebt nur einmal
IV
Une Lives But Once
III
II
.......... II
........ I
..........................
INDEX
456
38
1275
II
322
609
111
913
WACHS, PAUL
March of The Flower Girls
WEBER, C. M. VON
Invitation to the Dance, Op. 65 .
Aufforderung zum Tanz
perptuel, Rondo from Sonata,
Mouemezndrt
\\"ILLIAMS, ALBERTO
Op. 39 .
Madrigaux,
Madrigals
WILSON, MORTIMER
Suite In Georgia
As the Sun Sets, Op. 25, No. 3 . .
On the Chattahoochee, Op. 25, No. 4
Uncle Neds Story, Op. 24, No. 1 .
VVhos Afraid? Op. 25, No. 2
WoLFF, BERNHARD
The Joyful Wanderer. Op. 173, No. 5
II
III
391
794
IV
1038
III
677
498
629
579
582
339
.........................
..........................................
........................ CLEMENTI .............
.....................................
.Accidentals, or Chromatic
Agile Fingers
Andante
Voices
Answering
Signs
PAGE
2
............................................
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
.....................................
...................................
.......................
...........
..............
..........................................
..........................................
56
114
46
148
107
59
106
212
20
36
47
152
17
38
89
90
51
2
51
Exercises
Finger
Exercises
......................................
..........................
in 8th Notes ..........................
32
293
UndertheLindens
94
IntheMonthofMay
45
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
176
182
184
186
BERENs, H.
Study, Op. 61, No. 1
Study, Op. 61, No. 5
Study,Op.61,No.9
Study,Op.61,No.11
BERTINI, H.
Study,
Study,
Study,
Study,
BEYER, F.
Clown and Pantaloon
. .
Morning Song . . . . .
Round We Go . . .
The Whistling Farmer Boy
Three Little Duets
. . .
27
BURCMLLER, F.
13
, FRANZ
BREsLAUR, EMIL
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
. .
. .
. .
. .
. .
.
.
.
.
170
169
181
187
59
33
25
26
22
TheCuCkoO............47
Rondo alla Turca, Op. 68, No. 3 .
Study, Op. 100, No. 21 . . . .
.
.
.
.
.
.
130
64
26
8
31
28
35
4l
49
Finger
1
241
29
99
Fair, The, Op. 101, No. 8 ........ GURLITT, CORNELIUS
Fairy March .................... FREDERIC, C. .......... 21
Fairy Polka, Op. 93, No. 3 ....... SPINDLER, FRITZ ....... 120
BEAUMONT, PAUL
.....................................
..............................
..............................
..............................
.................................
................................................
....................................
.........................
....................................
.............................
..........................
...............................
Elements of Music
Eln Dance, Op. 12, No. 4
Exercise in Double Notes
Exercise for Crossing Finger
Over and Thumb Under
Har
Exercises for Elementary
mony and Arpeggios
Exercises for Extending the
Hand
Exercises for Finger Develop
ment and Control
Exercises for Moving the Hand
Exercises for Repeating Notes
with Same Finger
Exercises in Double Notes
Exercises in Interval Playing
Exercises in Moving Legato
Double Notes (Thirds)
ASimpleStory
D
Daily Round, The
Dance of the Clowns
Dancing Under the Linden Tree,
REINECKE, CARL .......
. 161
Dol ys Dreaming, Op. 202, No. 4.0EsTEN, THEODOR .....
.
FREDERIC,
C.
Dollys Polka .....
Dotted Notes
Dutch Dance
PAGE
I.
BACH
C
Cheerfulness, Op. 142, No. 9 .....
Childrens Ball
Christmas Tree, Op. 36
Clock, The, Op. 62
Clown and Pantaloon
Comparative Value of Notes
Contemplation
Coquetry, Op. 56, No. 3
Country Boys Song
Country Dance
Cuckoo, The
Curious Story, A .
ASCHER,
121
16
1, The
24
13
20
Andante..............121
CLEMENTE
M.
110
CoNCoNE, G.
Study,Op.24,No.24
CRAMER, I. B.
Study, A Major
Study, B-flat
Study, C Major
Study, D Minor
.
. .
Study, F Minor
Study, F-sharp Minor
664
291
298
300
302
296
294
SUPPLEMENTAL INDEX
............... ..........................
128
48
Waltz_
from).
.
.
.
.
.
_
.
.
.
.
.
_
.
.
.
.
.
_
.
.
_
~
.
.
_
-
'
-
.
.
.
.
.
.
.
'
-
.
.
57
72
80
72
84
177
194
200
204
206
193
314
308
310
80
179
179
182
201
197
197
313
57
'
188
1'24
5701). . .
_ _ _
_ _ _
. . .
'
~
.
_
_
.
~
.
_
_ _
. .
. .
167
175
62
68
67
67
108
.
_
25
30
44
'
'
ga
74
74
'
'
.
_
.
_
.
_
'
.
_
.
_
'
.
_
'
'
_
'
'
_ _
Ong
ALimesong............2o
.
.
.
.
_
.
.
.
.
.
_
.
.
.
_
_
.
.
.
_
l
.
.
.
_
, NIELS W
52
Christmas
Tree, Op. 36
57
62
20
142
140
103
.....
TB.
Roundelay _ . _ _ . _
Country Boy's Song . . . . .
. . . . . .
.
Dollys Polka
Fairy March
. . . . . . . .
Five Little Recreations in Note Values
. . . . . . .
Graceful Dance
. .
. . .
Plaintive Mood
Round .
.
Merry
20
20
51
21
15
21
20
29
KULLAR,
...............
............. .......
'" .........................................
FREDERIC,
C. ..........
Plaintive Mood .................
Op. 96, No. ll. .....LoEscaHoRN, A. ......
Playing Ta
....... ...SPINDLER .............
Polonaise,
p. 93. No.
........................
Position at the Pianoforte
Scale,
The .............................
Practice of the
Little Waltz
Theme
EHMANT,
.................
'
5
19
57
96
100
20
60
93
17
33
_
e
itt
1
4 8 5
53
" Th efe W as
FREDERIC, C.
.................................
",
B'
J'
",
139
40
20
` '
~
J'
USSEK'
_
Rondo, Op- 20, N0
'
'
~
'L
15
16
28
'
N0 15
~
gp'
tugy'
t Y'
Study, OP-
8, g
21
...............................
Marks Used to Indicate Degrees
Force
............................................
of
Maypole Dance ........................................
Major .............. CzERNY ...............
Mazurka,
. ............
Menuett ........................ PLEYEL,
ARL ..........
A,
Dance,
. 12, No. 3...HEINs,
DRINo, C. H.
t
e
15
l;
......................
................................................
.......................................
..........................
...........................................
HEINRICH
..............
Little
Inlependence
..................................
Pieceshfoli:I an
Between
....... /, HEINRICH ..
Little Rogue, Op. 77, No.
REINECKE, CARL .......
.....................
Song
Little
FREDERIC, C. ..........
Little Song, A. .................
..........
Waltz, .................
Iiglse ........................... .
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
..........................
K eybo ar, Th
2 6
.
.
.
.
.....
GUsrAvE
_
.
.MERKEL,
.
.
.
_
.
.
_
.
2...
.
.
.
_
.
.
.
.
_
. .
. .
. .
. .
'
~
. .
. .
.
.
.
. .
. .
_
.
.
.
.
.
.
'
-
.
_
.
lolly Huntsman,
Juggler, The
12
25
32
12
11
. .
21
. .
31
' `
- P- 821 N - 22
Op. 821, No. 33 (Adapted
Op. 821, No. 35 . . .
OP- 821, N0 43 - . .
.
Op. 821, No. 76 .
Op. 821, No. 107 . .
Op. 821, No. 108 . . .
Op, 821 (Adapted from)
Major
_ _
t Y'
Study,
Study,
Study
Study,
Study,
Study,
Study,
122
.
.
_
.
.
'
.
.
'
-
.
_
.
.
.
.
_
'
16
98
38
45
293
..............................................
...................
..........
.........................................
...........
..........
.................
.....
.........................
_
Imitation
LAcoMRE, P.
Indian Dance
1 Garden
BEHR, FRANZ
1 the Month of May
Invention, Two-Voice, No.
....BACH
Invitation to the Dance (Simpliwem, C. M.
eed)
.
_
.
.
.
.
_
.
.
'
39
45
53
.
_
.
.
.
.
_
.
.....................
....................
Happy Hours
51
21
7 2
...........................................
................. FREDERIC, C. ..........
Grace Notes
Graceful Dance
19
24
Mazurka,
Major
Study_ Op_ 139_ No_
Study, Op. 139, No.
Study' - 139: NOStudy, Op. 139, No.
Study, Op. 299, No.
Study, Op. 299, No.
Study_ . 299, Na
Study, Op. 299, No.
Study, Op. 299, No.
Study Op 636 No'
Study, . 740, No.
Study, Op. 740, No.
Study Op ' 740 No '
15
@te
......FREDERIC,
PAGE
, C.
..................
..............
C. ..........
_First
We \_/_i_ol_et,
1
Value
...BEHR, F.
PAGE
61
575, No.
_8
_Op
394
144
SUPPLEMENTAL INDEX
ALPHABETICAL INDEX OF TITLES
Loss...............127
PAGE
3
Rhythm
DussEK
124
Rondo, Op. 20, No. 1
Rondo alla Turca, Op. 68, No. 3..BURCMULLER, FREDERIC.. 130
SCHMOLL, A.
Rose, Mazurka, Op. 50
92
..FREDERIC, C.
Round Dance
29
BEVER, F.
Round We Go
25
Russian Folk Song
58
..................................
............
...............
..........
..........
..............
..........
..................
.............
.............................
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
...................
HEINs,
.
.
.
.
.
.
190
198
CARL
HELLER, ST.
A Curious Story
Study, Op. 45, No. 2
Study, Op. 45, No. 15
100
'
152
178
196
HORMANN, HEINRICH
Little Rogue, Op. 77, No. 1
KHLER, L.
Study, Op. 50,
Study, Op. 50,
Study, Op. 50,
Study, Op. SO,
Study, Op. 60,
293
176
182
184
186
170
169
181
93
99
307
56
167
175
190
198
116
17
164
37
187
64
66
291
298
300
302
296
294
72
80
72
84
177
194
200
204
206
193
314
308
310
313
80
179
179
182
201
197
197
74
74
188
62
67
67
68
.
.
HAsERT, R.
Study, Op. 50, No. 1
Study, Op. 50, No. 11
238
60
32
47
18
85
. 110
. 41
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...........
...............
.
.
HABERRIER, E.
Study, Op. 59
S
Salterello, Op. 50, No. 19........SCHMOLL, A
Scales and Staccato
ASCHER,J
Simple Story, A
Skipping Rope Dance
Slow Trill Exercises
REINECKE, CARL
Sonatina, Op. 127 A
CLEMENTI
Sonatina, Op. 36, No. l
Song of the Hussars
Song of the Miller Maid, Op. 50,
ScHMoLL, A.
No. 6
Song of the Toiler
Special Exercises
Staccato
Studies in Scale and Arpeggio
Passages
Study (Two-Voice Invention No.
BACH
1)
BERENS
Study, Op. 61, No. 1
BERENS
Study, Op. 61, No. 5
BERENS
Study, Op. 61, No. 9
BERENS
Study, Op. 61, No. 11
BERTINI
Study, Op. 29, No. 3
BERTINI
Study, Op. 29, No. 6
BERTINI
Study, Op. 29, No. 18
Study, Op. 29, No. 22 (Arr.
BERTINI
from)
BURCMULLER
Study, Op. 100, No. 21
Study, Op. 24, No. 24
CoNcoNE
CRAMER
Study, Major
CRAMER
Study, B-at
CRAMER
Study, C Major
CRAMER
Study, D Minor
Study, F Minor . .. . . . . . . .L ...... CRAMER
CRAMER
Study, F-sharp Minor
CZERNY
Study, Op. 139, No. 19
CZERNY
Study, Op. 139, No. 24
CZERNY
Study, Op. 139, No. 45
CzERNY
Study, Op. 139, No. 53
_
PAGE
GURLI'I'r, CORNELIUS
139
K
No. 3
No. 4
No. 9
No. 10
No.
No.
No.
No.
No.
.
.
.
.
76
77
65
65
`
78
.
61
.
75
.
68
.
81
172
102
103
KRAUsE, A.
Study, Op. 2, No. 7
KULLAR,
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
3
8
11
10
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
L
LACOMBE, P.
Indian
Dance
98
LE COUPPEY, F.
Study, Op. 20, No. 4
Study, Op. 20, No. 13
168
176
LEMOINE, H.
Study, Op. 37, No. l
Study, Op. 37, No. 2
Study, Op. 37, No. 8
Study, Op. 37, No. 10
Study, Op. 37, No. 20
Study, Op. 37, No. 49
LIcHNER,
63
63
69
70
71
180
HEINRICH
Contemplation
LoEscHHoRN,
106
A.
.
.
.
.
.
.
.
.
.
.
.
.
.
78
146
Lw, JOSEF
Cheerfulness,
114
SUPPLEMENTAL
396
INDEX
...................................
.............. SMALLWOOD, WILLIAM..
.................... EHMANT, A. ..........
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
PAGE
178
196
.................
..............
.........................
..........
........
.............
...............................................
..............
55
43
146
155
30
19
22
5
39
94
7
V
Valse
Valse
......
.........
108
104
W
C Major ................ CZERNY ...............
Whistling Farmer Boy, The ..... BEYER, F. ....... . .....
Waltz,
MERKEI., GUsTAvE
Jolly Huntsman,
57
26
128
MLLER, A. E.
Theme and Variations
68
81
172
168
174
63
63
69
70
71
180
78
202
82
PAGE
MOZART
Minuett
LoEscHHoRN, A. ......
Tarantelle in A
Tech. . Prep. to the 3d Grade..ScHMIDT
Theme
EHMANT, A. ..........
Theme and Variations
MLLER, A. E.
Three Little Duets (4 Hands) . ...BEYER, F
Triplets
Two Little Voices
WORLEAHRT, HEINRICH.
19
OEsTEN, THEODOR
Dollys Dreaming,
PLEYEL, J.
Menuett
REINEcIcE, CARL
Dancing Under the Linden
Little Song.
. . . .
SCH MITI, A.
Op. 16, Technical
3d Grade
Exercises
Preparatory
155
ScHMoLL, A.
Rose Mazurka, Op. 50 . . . .
Salterello, Op. 50, No. 19
. . .
song of the Miner Maid, . 50, Nof
. . .
Waltz
SMALLwooD, WILLIAM
The Sweet Violet
116
152
43
SPINDLER, FRITZ
Fairy Polka, Op. 93, No. 3 .
Polonaise, Op. 93, No. 1
STREAIIEOG,L.
Valse Mignonne,
to the
120
140
104
WEBER, C. M. voN
Invitation to the Dance
(Simplified)
118
WOHLFAHRT, HEINRICH
A Little Dialogue .
Two Little Voices
.
.
.
.
.
.
28
39
l,
@A
Yc .
..fylakg .O
ggg
..
II
II
V
V
V
V
..........
1.
................
............
..........
..............
......... III
..........
............
III. INTERMEDIATE
...........
....................
....................
................
............
...........
.............
......
....................
...................
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........
............. V
......... II
.......... V
.......... II
II
.............. V
.............. V
V
............
............
........... V
V
........
.......... V
.............. V
......... III
.......... II
PAG:
102
103
1
'.
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I I
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...........
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......... III
............
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........
11
..........
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V
VV
VV
V
I
V
II
II
II
...................
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...............
11
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EASY
........
...........
. MODERATELY
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
V
............................
....................
........... V
..............................
V
................................
V
...............................
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.......
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.....
........... V
........... V
...............
.........
........... V
........... V
.........
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........... V
...........
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........... V
.............
....... V
............
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........... V
........... V
......................
............ V
.............
............. V
..............
....... V
............
.......... V
..................
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........ V
...........
........... V
.................
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.......
..................................
V
...............
V
.........
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............ V
.....................
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.....................
V
..................................
V
..............................
........
............. V
............ V
......................
PAGE
VOL.
CoMPosn
TITLE
TITLE
CoMPosER
VOL.
Once There Was aLittle
V
Princess
KULLAK
V
The Clock
KULLAK
Berceuse
ILYNSKY
V
Song of the Miller Maid ..... SCHMOLI.
V
The Merry Farmer
SCHUMANN
II
The Trapeze
REBIKOEE
Invitation to the Dance (Sim
V
WEBER
plified)
V
Fairy Polka
SRINDLER
V
Andante
CLEMENTI
From Sonatina, Op. 36 No'.
Major
Minuet,
BACH
Madrigal No. IV, Cantabile...WILLIAMs
V
Rondo, Op. 20, No.
DussEK
V
Loss
GURLITT
Prelude, Op. 11
SCRIABINE
V
MERKEL
Jolly Huntsman
V
The Wild Horseman
SCHUMANN
.......
V
alla
BURGMLLER
Turca
Rondo
Little Girl Implores Her
II
Mother
REBIKoI-'r
Six Easy Variations on a
V
Swiss Song
BEETHOVEN .........
V
Little Rogue
HORMANN ..........
Tarantelle,
Minor
LoEsCHoRN .........
Madrigal No. III, Moderato..WILLIAMs
V
March
SCHARWENRA ......
V
Waltz
SCHMOLL
V
A Curious Story
HELLER
VERY EASY
I.
GRADED INDEX
104
472
106
108
110
114
116
117
410
118
120
121
123
682
124
127
GRADED INDEX
398
TITLE
VOL.
COIrrOsE
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
Six Variations
................
No 1; La jalouse
No. 10; Amitie
No. 7; Assai moderato
No. 4; Capriccioso
No. 17; Zigs-zags
No. 2; Les tres coups
No. 5; No llores masl
No. 15; Cri-cri! .
No. 9; Quasi Lento
No 14; Improvisada
No. 18; Ainsi-soit-il!
No. 13; Comodo
No. 11; Allegretto risoluto`
No. 12; Si!
No. 8; Porque, eh?
No. 6; Veille Funbre
No. 16; Lclat de rire
DVORAK
Humoreske
...........................
......................
...........................
............................
.......................
.......................
...........................
.........................
........................
........................
.............................
...................
.................................
..........................
........................
.......................
..................
......................
......... ........
...............
.............
...........
............
............
...........
...........
..............
V
V
II
II
V
II
II
II
II
II
PAGE
242
249
252
360
251
253
501
256
357
602
480
V
V
V
PAGE
419
III
II
II
685
426
508
III
II
512
II
III
II
687
489
IV. ADVANCED
V
V
V
V
V
V
II
11
III
II
II
I
I
III
III
III
III
III
III
III
III
III
III
III
III
III
III
III
III
III
III
II
1I
II
II
II
II
II
II
I
414
II
II
423
498
II
374
II
376
........... III
Vol..
11
V
V
III
COMPOSER
Bouquet of Roses
Prelude, D-at
Three Cuban Dances
II
TITLE
Melody in F
Waltz, Op. 39, No. 3, Andante
espressivo
Lied der Sehnsucht
Reverie
Waltz, Op. 39, No. 4, Mod
erato
Valse Mignonne
Un Fte en Et
Waltz, Op. 39, No. 5, Espres
sivo
Boat Song
Romance sans paroles
............
.......
...............
......................
..............
.......
..............
.............
.............
.............
II
I
II
II
II
......................
.............
II
........
21
452
454
456
I
428
551
432
458
461
690
638
378
572
691
GRADED INDEX
VOL.
COMPOSER
TITLE
I
Mazurka, F sharp Minor ..... CHOPIN
I
Impromptu, Op. 28, No. 2.. .REINHOLD
I
......
REBIKOI-F
Devils
are
Amused
The
Polish Dance, Op. 3, No. l...SCHARwENKA ......
Prelude, C Sharp Minor ..... RACHMANINOFF
MAcDOwELL
Scotch Poem
I
DEBUSSV
Reverie
STRAUSS
..
Reverie. Op. 9. No. 4
Romanze, F-sharp
SCHUMANN
WILSON
On the Chattahooche
From "ln Georgia"
I
Mazurka, G Major
CHOPIN
Valse, Op. 34, No. 1
I
CHOPIN
BEETHOVEN
Adagio
From Sonata, Op. 2, No. 3
Impromptu, Op. 90, No. 4 ..... SCHUBERT
I
Funeral March
BEETHOVEN
From Sonata, Op. 26
V
BEETHOVEN
Allegretto
From the Moonlight Sonata
Prelude
HANDEL
From Suite, D Minor
Prelude, A-Hat
I
CHOPIN
11
Spring-Dawn
MASON
Double I
HANDEL
From Suite, D Minor
Allegro
BEETHOVEN
From Sonata, Op. 2, No. 3.
Capriccio, E Major
SCARLATTI
Sonata, A Major
V
SCARLATTI
Courante
HANDEL
From Suite, D Minor
Caprice, Op. 49
HUMMEL
Intermezzo in A Minor ...... BRAHMs
I
Impromptu, B-flat Major, Op.
142, No. 3
SCHUBERT
Allemande
HANDEL
.
From Suite, D Minor
Barcarolle
V
TSCHAIRowSKY
From The Seasons"
To Spring
V
GRIEG
Menuet lantique
V
PADEREWSR'I ........
Air
HANDEL
From Suite in D Minor
Variations, E Major
V
HANDm.
The Harmonious Blacksmith"
V
Spinning Song
MENDELSSOHN ......
Barcarolle, F Minor
I
RUBINSTEIN
.......
Double V
HANDEL
From Suite, D Minor
Barcarolle, G. Minor
I
RUBINSTEIN
Barcarolle, Op. 10, No. 3 ..... RACHMANINOITI-`
I
Double
HANDEL
From Suite, D Minor
Valse, Op. 10, No. 2
I
RACHMANINOEF
Allegro con brio
BEETHOVEN
From Sonata, Op. 2, No. 3
Rkoczy March
LISz'r
I
Double IV
HANDEL
From Suite, D Minor
RUBINSTI-:IN
I
Barcarolle, G Major
On Wings of Song
I
MENDELSSOHN-LISZT
Berceuse
HENSELT
Double
HANDEL
From Suite, D Minor
Adagio sostenuto
BEETHOVEN .........
V
From Sonata quasi una Fantasia, Op. 27, No. 2
Uncle Ned's Story
WILSON
From In Georgia
PAGE
52
III
140
995
111
673
............
.........
..........
Generated for Takao, Naoko (University of Miami) on 2015-09-15 01:17 GMT / http://hdl.handle.net/2027/uiug.30112015167627
Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
................
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.........
...........
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................
....................
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..........
............
....................
..............
.......
...........
.........
........
...........
............
............
........
..........
........
........
...........
............
............
...........
........
.........
.........
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...........
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.......
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...................
...................
..............
...........
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...........
.........
............
..............
.........
...................
...........
.........
.......
II ...................
...........
.........
.............
........
.............
..............
..................
............
..........
.......
..........
....................
..........
II ...................
..........
............
..........
............
Mazurka, Major ........... SCARAMUzzA
......
Presto
................... ...HANDEL ...........
From Suite in D Minor
............
Oriental Dance .............. SMITH
Capricho, D Minor .......... BLANCO ...........
Serenata, E Minor ........... BLANCO ...........
Fugue ...... _................. HANDEL ...........
From Suite, D Minor
Intermedio, E Minor ........ BLANCO ...........
Whos Afraid? ............. .WILsoN ...........
From In Georgia"
II
III
II
II
II
II
III
II
III
III
III
II
III
III
II
III
III
605
999
620
66
624
626
629
70
74
842
593
83
360
982
518
317
988
693
524
338
344
98
102
111
829
III
120
993
III
124
129
135
991
356
579
150
156
582
III
II
...................
..........
assai ................
Minor
La Fileuse
Allegro
l`romSonata, Op. 2, No. 3
DIFFICULT
COMPOSER
Vol..
PAGE
............. V
I
BEETHOVEN ........ III
HAYDN
............
............
..........
...........
..............
...........
............
.......... III
........... III
......... III
..........
....................
........
..............
.............
.......................
.............
..........
.....................
Fugue, Minor ............. HANDEL ........... III
Caprice la Scarlatti ........ PADEREwSRI ........ 111
Basso ostinato, Op. 5 ........ ARENSKY .......... 111
Impromptu, F Minor; Op. 142,
No. l ..................... SCHUBERT ......... III
Polonaise, Op. 40, No. 1 ...... CHORIN ............
I
Largo i allegro .............. BEETHOVEN ........ IV
From Sonata, Op. 31, No. 2
........... ........
........ IV
...........
....................
.......
........ I
...... II
............. III
.......... III
Adagio ..
BEETHOVEN
.
From Sonata, Op. 31, No. 2
Andante, F Major
BEETHOVEN
Etincelles
MoszkowsKI
Invitation to the Dance
WEBER
By the Sea, Op. 52, No. 5 . ...ARENSRY
VI. DIFFICULT
.............
....................
Papillons, Op. 2
SCHUMANN
Automne
CHAMINADE
Con vivacta e sempre con
sentimento ed es `ressione...BEETHOVEN
Minor, Op. 90
From Sonata,
Non troppo vivo e cantabile
assai
BEETHOVEN
From Sonata, Op. 90
......................
III
II
MODERATELY
TITLE
Andante with Variations,
322
328
333
989
III
III
V.
399
........
....... 111
........ IV
........
IV
III
III
............
.....................
..............
...........
............
....................
................
..............
..........
.......
.........
..........
.........
..........
.............
III
III
III
V
11
III
III
III.
III
.............. III
........... III
I
....... III
III
............ I
I
........... I
............ I
........... III
............ III
........... IV
............ IV
1070
244
562
802
GRADED INDEX
400
TITLE
COMPOSER
BRAHMS
Rhapsodie, G Minor
WEBER
Mouvement Perpetuel
Barcarolle, A Minor .....
. HOPIN
Ballade, A-at Major ..
LISZT
Un sospiro, Etude .....
CHOPIN
Nocturne, D-at
PADEREWSKI
Thme Vari
Valse Caprice, E-flat Major...RUBINsTEIN
Nocturne, C Minor
.........
.......
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Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google
.........
................
..........
........................
...............
........
VOL.
........... IV
............. IV
........ IV
IV
IV
............ IV
....... IV
........ IV
............ IV
............ IV
........ V
............ IV
PAGE
1030
1038
1052
1109
1122
1132
1138
1150
1161
1167
362
1175
VII.
VERY DIFFICULT
TITLE
COMPOSER
VOL.
Scherzo, C-Sharp Minor ..... CHOPIN
IV
Funeral March
SCHUBERT-Liszt'
IV
Waldesrauschen
LISZT
IV
Gnomenrei en
LISZT
IV
Polonaise,
Major
LIszT
IV
Marche Militaire
SCHUBERT-TAUSIG .. IV
Man lebt nur einmal
STRAUSS-TAUSIG
IV
Hungarian Rhapsody, No. VI.LIsZT
IV
Hungarian Rhapsody, No. X..LISZT
IV
Hungarian
Rhapsody, No.
. XIII
LIszT
IV
Prelude and Fugue, A Minor. .BACH-LISZT
........ IV
..............
.............
...............
..........
............
.........
......................
............
..............
..............
..............
..............
..............
..............
PAG!
1190
1209
1221
1234
1245
1263
1275
1293
1304
1317
1330
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