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GRADE 11 BOOK 2
s

The University Course

of Music Study
A STANDARD TEXT-WORK i

STUDENTS' ABRIDGED EDITION

PREPARED BY THE EDITORIAL STAFF OF THE

bcORE IHCCRPORATED
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10
U55
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V.2
PUBLISHED BY

THE UNIVERSITY SOCIETY

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NEW YORK
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 ERSITY COUESE
USIC STUDY

A STANDARD TEXT- WORK

PREPAREO BY THE EDITORIAL STAFF OF THE

c\

Garncgie BalM7e\v5^i\1]5^

EDITORS AND ASSOCIATE EDITORS

Rudolph Ganz
Charles Dennee Edwin Hughes
Nicholas deVore
Thomas Tapper EXECUTIVE EDITOR Kate S. Chittenden

W. J. Baltzell Morton F. Mason

Bernard Boekelman Alexander Pero
STUDENT'S ABRIDGED EDITION
Moissaye Boguslawski
INTERMEDIATE Otto W. G. Pfefferkorn
introductory
Felix Borovvski DIVISION DIVISION Roy Lamont Smith
[Grade One] [Grade Two]
Alfred A. Butler Allen Spencer
Book I Book 5 Book I Book 5
Edward Collins Book 2 Book 6 Book 2 Book 6 Vernon Spencer
Howard Clarke Davis Book 3 Book 7 Book 3 Book 7 Adele Sutor
Book 4 Book 8 Book 4 Book 8
Henry Purmont Eames Donald M. Swarthout
Louis C. Elson juniorgraduate SENIOR GRADUATE Edith Sanford Tillotson
DIVISION DIVISION
J. Lawrence Erb [Grade Three] [Grade Four] Edna Pearl VanVoorhis

Charles Haubiel Book 1 Book 5 Book I Book 5 Hunter Welsh

Book 2 Book 6 Book 2 Book 6
Hague Kinsey Guy Bevier Williams
Book 3 Book 7 Book 3 Book 7
George Kruger Book 4 Book 8 Book 4 Book 8 Mortimer Wilson

J. J. McClellan Francis L. York

PUBLISHED BY

THE UNIVERSITY SOCIETY

INCORPORATED

NEW YORK
 Copyright 1920, by
National Academy of Music
Copyright 1923, by
National Academy of Music
 1

me. UHIVERSITY COURSE ori>IirsiC STUDY

INTERMEDIATE DIVISION
GRADE TWO

CONTENTS
of Book 2
Page
The University Course, Students' Abridged Edition
Chapter VI Broken Chords
VII Legato and Staccato
__-_.___-_.
___....-___.
_ij
31
VIII The Grace Note
IX Rhythmic Cantabile
..____-._.__
_---..-___. 43
55
X Review and Recreation _.___-_.. ,67
Two-MiNUTE Stories from Music History
Chapter VI
VII
Captain Cooke's Choir Boys
The Romance of Stradella
_____.._
____...._ 7
8
VIII From Sciillion to Master of French Opera _____
IX
X
The Cat's Fugue .
Singer and Trumpeter
._.._______
_ __ _ _ _ _ _ _ _
9
10
11

Additional Compositions for Supplemental or Optional Use

PAGE PAGE
Lark, The
Tip-toe Dance
____...
______
Glinka
Biehl
16 Clown and Pantaloon
First Loss Schumann
Beyer 48
17 _ ^ _ _
59
Birthday Song (4 hands) ... Gurlitt 42 Fair, The, Op. loi. No, 8 Gurlitt 7

INDEX OF COMPOSITIONS
[References in parentheses are to chapter and page in the complete work; Grade II, if not otherwise indicated]

Alphabetically by Titles Alphabetically by Composers

A Berens, Hermann (Bare-ens)

Andantino, from Sonatina, C viajor (Op. Etude, F major (ix-2) 56
127a) Reinecke (x-4)
Beyer, Ferdinand (Buyer)
B Clown and Pantaloon 48'
Birthday Song (4 hands) Gurlitt
Biehl, Albert (Beel)
c Tip-toe Dance 17
Children's Ball Pasconet (xni-5) 46
Chimes, The, F viajor LeCouppey (x-7) 72 Clementi, Muzio
Clock, The, Op. 62, No. 2 . . Kullak (vi-9) 38 Rondino, G major. Op. 36, No. i (vi-7) 14
Clown and Pantaloon Beyer 48
Czerny, Carl (Chair-nee)
D Etude, C major (xxr-2) 44
Dancing Under the Linden, Op. 161, No. 5. Reinecke (x-6) 62 Mazurka, G major (viii-6) 47

Glinka, Michail Ivanovitch

Etude, F major Berens ("'-^) 56 Lark,The 16
Etude, C major Czerny (xXl-2) 44
Etude, C major Marmontel (vu-7) 35 Gurlitt, Cornelius (Goor-lit)
Etude MoRTSON (V1-3) 13 Birthday Song (four-hands) '

42
Fair, The, Op. loi. No. 8 71
The, Op. loi, No. 8 Hunting Song (ix-s) 58
Fair, Gurlitt 71
In the Garden, Op. 140, No. 4 (x-5) 70
First Loss Schumann 59
H Kullak, Theodor (Kool-lak)
Hunting Song Gurlitt (ix-s) 58 Clock, The, Op. 62, No. 2 (vi-9) 38
3
 ..

Alphabetically by Titles Alphabetically by Composers

PAGE
I LeCouppey, Fellx {Le-coop-pay)
In the Desert (4 hands) Wilson (viii-8) 49 Chimes, The, F major (x-7
In the Garden, Op. 140, No. 4 Gurlitt (x-5) 70
Loeschhorn, Albert {Lesh-hom)
L Tarantella, A major (vi-9'

Lark, The Glinka 16

Little Romance, Op. No. 19 Schumann (vii-14)
Marmontel, Antoine
'

68, 39
Etude, C major (vii-7 35
M Mortson, R.
Mazurka, G major Czerny (viri-6) 47
Etude. • (vi-3
Merry Farmer, The Schumann (x-i) 74
Minuet, C major Pleyel (vii-io) 36 Pasconet, N.
Children's Ball. . . . (viii-5 46
P
Song of the Toiler . (viii-4 46
Poor Peter voN Wilm (x-8) 73
Pleyel, Ignaz Joseph (Pli-el)
Q Minuet, C major (vii-io^ 36
Quartet, The Wilson (ix-io) 60
Reinecke, Carl {Ry'-iie-ke)
R
Andantino, from Sonatina, C major. Op. 127a (x-4' 68
Regrets Wilson (vii-13) 36
Dancing Under the Linden, Op. l6i. No. 5 (x-6^ 62
Romance, E-flat major . . -. von Weber (ix-4) 61
Rondo-Pastoral, from Sonatina, C major. Op. 127a.. (;
Rondino, G major. Op. 36, No. i Clementi (vi-7) 14
Rondo-Pastoral, from Sonatina, C major. Schumann, Robert {Shoo'-mahn)
Op. 127a Reinecke (x-2) 68 First Loss 59
Little Romance, Op. 68, No. 19 (vii-14] 39
S
Merry Farmer, The (x-l 74
Song of the Toiler Pasconet (viii-4) 46
Weber, Carl Maria von (Fay-ber)
T Romance, E-flat major (ix-4' 61
Tarantella, A major Loeschhorn (vi-9) 18
Tip-toe Dance Biehl 17 Wilm, Nicolai von {foii Feeltn)

Poor Peter .(x-8 73

Wilson, Mortimer
Four-Hand Pieces In the Desert (four-hands) (vii
.
49
Birthday Song Gurlitt 42 Quartet, The (ix-io] 60
In the Desert Wilson (viii-8) 49 Regrets (vii-13 36
 PREFATORY COMMENT
In this Student's Abridged Edition of The Uni- Example No. 8
versity Course of Music Study, Piano Series, [Example No. 3]

there is contained all of the essential exercises, Example No. 8 in this chapter of this edition is
etudes, and pieces unabridged work, and in
in the Example No. 3 in the Teachers' Manual for this
addition a considerable number of supplemental grade.
compositions, which can be drawn on at will to
lend variety and an opportunity for choice on the
Example No. 10
part of the teacher in the treatment of the in- [Sup. Tech. III-7I
dividual problems. Example No. 10 in this chapter of this edition
Four books constitute an average year's work, is No. 7 in the Technical Supplement for the
particularly where a student is attending school.
Junior Graduate Division (Grade III).
Faster progress is possible for those of marked
musical aptitude or who devote more than the
average amount of time to practice, but thorough- Where no such reference is found it does not
ness and a natural development are at all times to indicate the insertion of new material, but the re-
be preferred to a superficial development, however printing of earlier exercises for convenience of
rapidly the student may seem to progress. student and teacher in connection with the Cumu-
It is recommended that each pupil shall have a lative Review and Elaboration of Fundamental
Practice Book, in which the teacher will indicate Technic.
in writing the work assigned for practice and A reference to an example in a previous chapter
study, that which is completed, and that which is of the SAME edition is as follows;
carried over or elaborated upon from lesson to (i-vii, Ex. 6) means Grade i. Chapter 7 and
lesson. It also will serve to show all unfinished Example No. 6.
work which it is planned to review at a later date. (2-xii, § 5) indicates Grade 2, Chapter 12 and
With such a record before student and teacher at section 5.
each lesson, a comprehensive plan can be pursued (1-2, p. 36) is a reference to page 36 in Book 2
in a systematic way. of Grade I, of this Students' Abridged Edition.
At the end of a paragraph of text in this edition,
a section number enclosed in brackets indicates the
The review of earlier work is always productive
location of additional text in the unabridged work.
of great good, as is the employing of easy material
Under each example number there is found in
for practice in sight playing. These are two prin-
brackets and in smaller type an exercise or illus-
ciples most commonly neglected in connection
tration number, by which to locate the same item
with piano study, and which have much to do with
in the same chapter in the complete edition.
the cultivation of musical intelligence and that
If the number in small type is an "example"
degree of musical understanding which is essen-
number, tlie material has been carried over from
the teachers' manual; if it reads " Sup. Tech." it is
tial to musicianship. A review of the earlier ma-
terial of The University Course with each pupil,
from a Technical Supplement.
will enable any teacher to standardize his instruc-
Thus:
tion, and eventually if he so desires, to combine
Example No. 2 class instruction with private teaching.
[Illustration No. 4] The chief endeavor in the preparation of this
Example No. 2 in this chapter of this edition is edition has been to supply in simple and compact
Illustration No. 4 in the same chapter of the form a selected and graded collection of material
complete work. which will serve as the basis for any method of
music instruction, and which be within the will
Example No. 5 reach of every student of the piano, without ex-
[Exercise No. 3] ception. Every essential phase of piano playing
Example No. 5 in this chapter of this edition is is embraced, but in such form as will permit
Exercise No. 3 in the same chapter of the complete every teacher to exercise complete individuality of
work. application and treatment.
 TABLE OF METRONOME SPEEDS

MM. Scale Number of Tones Per Minute, at Two or More Tones to a Click

1 to 1 2 to 1 3 to 1 4 to 1 6 to 1 8 to 1 9 to 1 12 tol 16 tol

50 100 150 200 300 400 450 600 800

52 104 156 208 312 416 468 624 832

1
54 108 162 216 324 432 486 648 864

56 112 168 224 336 448 504 672 896

58 116 174 232 348 464 522 696 928

60 120 180 240 360 480 540 720 960

63 126 189 252 378 504 567 756 1008

264 528
66 132 198 396 594 792
/
69 138 207 276 414 552 621 828
/
72 144 216 288 432 576 648 864 /
76 152 228 304 456 608 684 912 /
80 160 240 320 480 640 720 960

84 168 252 336 504 672 756 1008 ,

88 176 264 352 528 704 792 1 to 1 :

J
/
92 184 276 368 552 736 828
/2
/ to 1: J J
96 192 288 384 576 768 864

100 200 300 400 600 800 900

/ fn 1 -

. J J
104 208 312 416 624 832 936

108 216 324 432 648 864 972 /

4 to 1 : 'nH
112 224 336 448 672 896 1008/

116 232 348 464 696 928

/ R R R
120 240 360 480 720 960
b'd bbd
126 252 378 504 756 1008 / ^"" ^^
132 264 395 528 792

138 276 414 552 828

* 8tol: SdSdtdda
144 288 432 576 864
C— j—R r-—
152 304 456 60S 912 9 tol : ddddsddmd
160 320 480 640 960

168 336 504 672 1008 / 12 to '''

tt^^^^i^^^^fi
176 352 528 704
tS«=— '"^^'^y
184 368 552 736

192 384 576 768 /l6t ol: S00S4i»4d^»4S4ddd

1 200 400 600 800
PICTURE STORIES FROM
THE HISTOR Y OF MUSIC
CHAPTER
CAPTAIN COOKE'S CHOIR BOYS
When the royal house of the Stuarts, in the person
of Charles II, was restored to the throne of England,
in 1660, music and the cultivation of the art were at a
low level. The Puritan ban had been especially severe
against the musical establishments of the various
cathedrals and music for the state. But when Charles
came back to England one of his first acts was to set
about restoring the choral service of the Church of
England. Composers were still living and a few emi-
nent organists were available. The lack was of skilled
singers, men and boys.
The Chapel Royal, where the King attended service,
was reorganized on a scale more elaborate than was the
case in the time of his father, Charles I. Good judg-
ment was shown in the selection of a musical director,
the choice falling upon Henry Cooke. He had been a
boy chorister in the Chapel Royal in the time of Charles
I and took up music as a profession after his voice
changed, serving as a member of the group of men
singers. When the war between the King and Parlia-
ment broke out Cooke joined the forces of the former
and showed such bravery and skill as to win a commis-
sion as captain in 1642. This title he retained until
his death in 1672. It was fortunate for the cause of
music that he passed through the period of Cromwell's
control of England without personal danger and kept
up his interest in music.
So it was that Captain Cooke was appointed "master
of the children" in the Chapel Royal and set himself
to the task of finding men singers and of training boys
for the treble part. At first the lack of competent boy
alto singers was met by using falsetto voices (the high-
est of counter-tenors) and also by cornets to play
treble parts. At the time of Charles' coronation,
early in 1661, the number of men in the choir was six-
teen, providing the bass, tenor, and male alto parts.
Cooke composed the music for the coronation ser-
vices, but does not show marked ability in the line of
composition. Yet he must have had special skill in
training boys for he soon had a group of fine boy singers,
six of whom, Pelham Humfrey, John Blow, Michael
Wise, Thomas Tudway, William Turner, and the
greatest of English composers, Henry Purcell, became
eminent in the history of music in England, doing honor
to the thorough preliminary training in music received
from Captain Cooke. Upon his death Cooke was buried
in Westminster Abbey.
During the years he had spent in exile in France
Charles II had become familiar with the form of church
music in use in France and elsewhere on the Continent.
The more solemn, stately music of the English com-
posers seemed severe to him and the organ a poor sub-
stitute for the orchestra used in the services at the
French Court. In imitation of the custom at Versailles
King Charles ordered that "viols, sagbutts, and cor-
netts" to the number of twenty-four, should be used
and that the organists include in their anthems ritor7ielli
(instrumental passages) to display the brilliant qualities
of these instruments.
King Charles was interested in his choir, knew every
member by name, and treated the young choristers in
THE UNIVERSITY COURSE
INTERMEDIATE DIVISION
VI
that friendly manner which was a part of his disposi-
tion. He wanted them to compose and was ready to
show his approval whenever an anthem by one of the
boys was sung. An interesting story is told in this
connection. On a Saturday word was brought to the
King that a naval engagement with a Dutch fleet had
resulted in a great victory for the English. In his joy
Charles determined to celebrate by a thanksgiving
service on the next day, Sunday. He ordered that an
anthem should be composed to the words / ivill always
give thanks and sung on that occasion. None of the
composers attached to the Chapel felt equal to the
task of producing music of the required quality on so
short notice. In the emergency three of the boys
volunteered and were accepted by the King. Pelham
Humfrey wrote the first part of the anthem, William
Turner the bass solo, and John Blow provided the
closing chorus. As soon as a part was finished the
choir was set to rehearsing. On Sunday this anthem
was sung with success.
Humfrey, the leading spirit in the choir at that time
was a remarkable character, talented in music, gifted
with an attractive personality, for he was a favorite of
King Charles, and was described by Samuel Pepys
in his famous Diary as a "pretty boy." He was born
in 1647, and was a member of the Chapel Royal choir
from the time of its reorganization until his voice broke
in 1664. a mark of the King's appreciation of the
As
unusual talent and promise of the lad the latter was
sent to France to study the style of music in use there
and also to Italy, with the idea that upon his return to
England he might modify and improve the more sober
English music. Four years were spent mostly in Paris
where he studied under Lully, the director of music at
the French court. Upon his return to England he was
received with great favor by King Charles. In a test
with other musicians he proved his superiority in the
new style. An appointment to the Chapel Royal had
been given to him before he returned, so he entered
upon his duties at once, doubtless adding to his income
by teaching, for he was a fashionable musician. In 1672,
upon the death of Captain Cooke, Humfrey was ap-
pointed "master of the children" and composer to the
King. This position he filled for two years only, for he
died in 1674, at the age of twenty-seven. He was buried
in Westminster Abbey.
Humfrey's friend, John Blow, was another of Cap-
tain Cooke's boys vi'ho became eminent in English
music. He was born in 1648. In 1660 he was taken
into the Chapel Royal as a chorister and received his
general as well as his musical education there. At
twenty-one he was made organist of Westminster
Abbey; in 1674 he became a member of the Chapel
Royal, and on the death of Humfrey succeeded the
latter as master of the children. Among his pupils was
Henry Purcell whose education had begun under
Captain Cooke and continued under Humfrey. In
1680 he gave place to Purcell as organist at Westmin-
ster Abbey. On the latter's death in 1695 he was re-
appointed and held the position until his death in 1708.
He was buried in the Abbey.
 Henry Purcell, who has been described as the great-
est and most original genius of the English school of
musicians, was born in 1658, in London. When Henry
was six years old his father, a singer in the Chapel
Royal, died and the boy was cared for by his uncle
also a member of the Choir. Even at this tender age
his talent formusic must have shown itself for he was
admitted as a candidate for the Choir by Captain
Cooke who thus gained the distinction of beginning the
musical instruction of the most eminent master in
English music. Upon the death of Cooke the boy came
under the instruction of Humfrey from whom he
learned the French style. His third teacher was Blow
who continued Henry's training in composition, for
although the boy's voice had broken he was still on the
roll of the Chapel. His first known composition was
written at the age of eleven. This was followed by
anthems some of which are still in use.
Dramatic music was the field of Purcell's greatest
contribution to English music. His first work in this
CHAPTER
THE ROMANCE OF STRADELLA
Tradition has a place in the story of music. Some
of the accounts that have come down to us from the
early days of the Greek people tell us of the wonderful
charm exerted upon hearers by the great singers of
the time, how the people were moved to tears, to wild
frenzy, and to madness. There is the story of Orpheus,
the most famous singer of antiquity, who possessed the
power to charm birds and beasts and to soften the
hearts of men who sought his life. In later centuries,
in Italy, a story was told how the sweet singing of a
musician saved his life. It matters not to us, now, that
histories cast doubt upon the romance. Even if the
events did not take place as described and in the lives
of the persons mentioned it is not easy to believe that
the story was purely a matter of imagination on the part
of the author. It is probable that something of the kind
happened. Perhaps the famous singer and musician
was made a hero with the wish to add human interest
to the story of his life.
About the year 1645 (the date is uncertain), in one
of the cities of Italy, both Venice and Naples are men-
tioned in this connection, a boy, who was later baptized
as Alessandro, was born to the Stradella family. Here
again we are without information as to the social posi-
tion of the family and the occupation of the father.
For the same reasons we lack knowledge as to the
sources of Alessandro's education in music. If he had
been a student in one of the established conservatories
in Naples his name should have been mentioned in the
roll of students. Here again no information is forth-
coming. Records in Venice yield no knowledge as to
his presence there as a student.
Judging from the usual course of musical training in
those days it is reasonable to suppose that Alessandro
was a member of a choir and there was trained in singing
and in musical science as then taught, leading naturally
to the composition of vocal works. Another inference
which seems justified from the various statements in
biographical works is that Alessandro was endowed
with more than ordinary talent in music, and that he
was versatile in his accomplishments. For it is stated
that he played the harp, the violin, and the organ. If
style was written in 1675, the first opera composed or
performed in England, a work which included recitative
and melodic phrases, and in which every word was sung.
In later years he produced mainly incidental music for
the plays of well-known authors, among them Dryden;
some of the airs and choruses are of the first quality.
Especially noteworthy is the music to King Arthur.
In 1680 Purcell was appointed organist of West-
minster Abbey and in 1682 organist at the Chapel
Royal, still retaining the former position. In these
positions he naturally gave attention to sacred music,
producing many services and anthems of high musical
value. In addition to dramatic and sacred music he
wrote much instrumental music for viols, organ music,
and suites for harpsichord. Like his master, Humfrey,
Purcell passed away at an early age, for he was only
thirty-seven at the time of his death in 1695. The
tablet to his memory includes the statement that he
has "gone to that blessed place where only his harmony
can be excelled."
VII
the accounts are to be credited his hands were unusually
well-adapted to organ playing by reason of their shape,
probably the length of the fingers and the wide stretches
possible to hands of free, muscular build. Even if
Alessandro did not possess the extraordinary skill in
playing with which he is credited by some writers we can
be sure that the groundwork must have been laid in his
youth, that he must have had exceptional talent for
playing, and have worked diligently.
At any rate by the time he was about twenty-five
years old he was prominent in musical circles at Venice.
There he was in demand as a singer and a teacher. The
romantic story connected with his career is that he was
engaged as a teacher by a Venetian nobleman to give
instruction to a protege named Ortensia. The intimacy
of the lesson period and the personalities of the teacher
and pupil brought about a mutual love. The discovery
of this so enraged the nobleman that he engaged two
bravos to kill Stradella. In the meantime Alessandro
and Ortensia fled to Rome. Here he wrote an oratorio
on the subject of John the Baptist. A performance was
arranged in one of the churches of Rome. The assassins
had traced the couple to Rome and made plans to kill
Stradella. They followed him to the church on the
day of the performance intending to dispose of him
after he left. Not daring to lose sight of the intended
victim they remained for the service. The beauty of
—
the music some say the beautiful singing of Stradella
himself — moved the hardened villains so much that
they warned Stradella. The latter, accompanied by
Ortensia fled to Turin. Here they were traced by an-
other set of bravos and an attempt was made upon the
life of Alessandro which resulted in a severe wound.
When he recovered the couple removed to Genoa. But
the hatred of the infuriated nobleman was not appeased.
A third attempt was made upon Stradella and his wife.
Both were surprised in their bedroom and killed some
time in 1 68 1.
It is singular that so little accurate information
should, be available as to Stradella. He wrote many
operas of which only two have been preserved and of
which only one was performed. The unrelenting hos-
tilityof a noble of powerful family connections and the
necessity of avoiding public notice may account for
this lack of recognition. An opera entitled Stradella
was written by Flotow. It is based on the romance
previously mentioned.
As a pendant to the romantic story of Stradella the
reader will find interest in an account of the composer
Pergolesi. He was born in 1710, at Jesi, was educated
in music (probably singing, harpsichord, and organ) by
a local master, with lessons in violin playing from an-
other. In 1725 he became a student at the Naples
Conservatory. His violin teacher was a celebrated
player named De Matteis who afterwards located in
London. The story goes that Pergolesi showed a
remarkable faculty for extemporizing on the violin and
talent for composition. His first work to receive public
performance was a sacred drama, given in 1731. Fol-
lowing this came operas, a number of sonatas for two
violins and bass, a mass to commemorate an earthquake
in Naples, in 1731.
His habits of life were notoriously bad and doubtless
contributed to bring on consumption from which he died
in 1736, at the age of twenty-six. The failure of his most
CHAPTER
FROM SCULLION TO MASTER OF FRENCH OPERA
French opera has certain characteristics which are
peculiar to itself, in these respects differing from the
principles upon which the Italian and German operas
are constructed. The French opera pays close atten-
tion to the genius of the French language and is above
all else expressive of the dramatic and the poetic senti-
ments of the text. A certain purity of style and form
is an essential, characteristics established by the French
poetic drama. The music did not have the marked
melodic quality of the Italian opera, and avoided the
extreme amount of ornamental passage work which
is a distinguishing feature of that school. The French
style is simpler, more declamatory, and more expres-
sive, if lessmelodious. The ballet is also an important
feature in French opera. King Louis XIV was fond
of dancing and showed interest in the drama as dis-
played in dance rather than by song.
The founder of French opera was not a natural born
Frenchman, but an Italian, who was known in France,
his adopted country, as Jean Baptiste de Lully. The
place of his birth is given as at or near Florence and the
date as 1633. In a statement made at the time of his
application for naturalization in France Lully declared
that he was the son of a Florentine gentleman, Lorenzo
de Lulli, but this is doubted by certain historians who
declare that his origin was humble, and that the claim
of noble birth was made to give weight to the patent of
nobility granted to him by the King of France.
Lully is said to have had undoubted gifts of mind
but was mischievous, a trait which he showed in various
phases in later years. From an old shoemaker monk he
learned the rudiments of music and to play the guitar.
As was customary with Italian boys who received mu-
sical instruction he was trained to sing by the monk.
It chanced that a French nobleman, prominent in the
Court, had been commissioned by the sister of the King,
Mile, de Montpensier, to bring with him from Italy,
whither he had gone on a journey, a clever Italian
boy who could help her with the language. Thir,
9
pretentious opera in 1735 Hastened his death. It was
in the last few months before the end that he wrote
his most celebrated work, a setting for two voices of
the Latin hymn Stabat Mater. In addition to the last
named composition his fame rests upon a short dramatic
work entitled La Serva Padrona, humorous in char-
acter, which has received many performances. These
two pieces give him a place in sacred music in the
oratorio style, and in light comedy opera.
Various accounts of his life mention numerous love
affairs, of which two are the more circumstantial. It
is stated that he was in love with a young woman of a
princely house and that she returned his affection. Her
brother, upon learning of this, gave her three days in
which to choose a husband of suitable birth. Instead
she decided to enter a convent, with the stipulation
that Pergolesi was to conduct the mass when she took
the veil. A year later she died and Pergolesi conducted
the requiem mass. A second story is that Pergolesi
had a love affair with the daughter of the British Am-
bassador to the Court at Naples. Elise Polko wrote a
series of twenty-five stories of a musical character.
In one of these Pergolesi and his Stabat Mater figure.
VIII
gentleman chanced to come across the boy Jean, then
between ten and twelve years old. Attracted by the
little Lulli's clever disposition and his evident skill in
playing and singing the nobleman decided to take him
to France. That this was agreed to is an indication of
the poverty of the boy's parents.
So it came about that Jean Baptiste went to France.
Probably Mile, de Montpensier had changed her mind
by the time the boy was brought to her and no longer
wanted a "joli petit Italien" (a clever little Italian
boy) to help her with the language. Perhaps he was
used in that way to some extent, but his regular position
in the household was that of scullion in the kitchen.
In his leisure hours Baptiste learned the songs of the
day and played them on a cheap violin. A friend of
Mile, de Montpensier heard the boy playing and
thought so much of the display of talent that he men-
tioned it to his hostess. This resulted in the boy's
being taken from the kitchen and made a member of
the house orchestra. Here his skill soon outshone that
of the other players. By the time he was fifteen he
seemed to be secure in the princess' patronage. But
his mischievous disposition led him to prepare some
satirical verses reflecting on his patroness and setting
them to music; This caused his dismissal. He was
then about fifteen years old, and had his way to make.
Fortunately for him and for music in France the
young King, Louis, who was about the same age as
Baptiste, had previously noticed the gifts of the young
Italian and took him into his own service as a member
of the "twenty-four violins of the King." A chronicler
—
of the period whether with actual truth or not, we
—
cannot say tells us that Lully was much superior in
skill to the other players, a circumstance which led the
King to form another band of young players with Lully
as director. Under the latter's instruction the new
group of players, known as "The little violins," soon
surpassed the old band. In his new post Lully had
ample opportunity to perfect his solo playing and to
gain experience in conducting and writing for the or-
chestra.
Luliy seems to have had both unusual ambition and
common sense. He was quick to perceive that without
deep study he could not make full use of his talents. So
he set to work and took lessons in playing the harpsi-
chord, in composition, and in organ playing. As his
knowledge increased he showed that he knew how to
strengthen his position at the Court, especially to please
and amuse the young King. He gave himself in earnest
to composition and wrote many songs, dances, violin
solos, and considerable music for the Church. He
furnished the music for the Court ballets and enjoyed
the favor of dancing side by side with the King. A
friendship with Moliere, the celebrated dramatic poet,
led to their working together in writing a large number
of ballets. In some of these Lully was accustomed to
take leading roles.
His ambition was still unsatisfied. By using his
influence with the King he secured a patent by which
he had the sole right to give operatic performances, a
control which he used without regard to any interest
except his own. Yet it is admitted by historians that
he used his position to place French dramatic music
on a high artistic plane. He replaced the slow and
stately airs of the Court ballet by lively allegros in
which the danseuses could display their art to the
delight of the audience. The simple recitative of the
Italian opera he changed into a more vigorous and
dramatic accompanied form, with careful attention to
correct declamation. The chorus became more im-
portant in working out a plot. He showed a fine under-
standing of the requirements of the stage as to acting
and setting. He worked out the plan of the operatic
overture, consisting of a slow movement, followed by a
rapid one, and closing with a repetition of the first.
As a musician, an actor, and a dancer, he developed the
ballet which became an essential feature of French
CHAPTER IX
THE CAT'S FUGUE
Genius in music has not often descended from father
to son, although there are a number of instances of the
working of this phase of the law of heredity, for example
in the Bach, Mozart, Beethoven, and Weber families.
In the latter part of the 17th century and the first
of the 18th a towering figure in Italian opera was
Alessandro Scarlatti who lived at Naples. As stated
in another story in this collection he made important
contributions to the form and style of Italian opera
and the art of singing. We can imagine, therefore,
with what interest he watched the early years of a son
who was born to him and his wife October 26, 1685.
(It is a coincidence perhaps, but one of much interest
to the art of music that in the same year J. S. Bach
and Handel were born.) This member of the Scarlatti
family was baptized Giuseppe (Joseph) Domenico
(Dominic) and is known in the history of music by his
second name.
We may assume that born into a family life such as
that of Alessandro Scarlatti, with livelihood depending
upon musical work of various kinds, with pupils coming
into the circle, with rehearsals of all kinds, and constant
talk about music, Domenico responded at an early
age to the spirit of his father and his friends. At any
10
opera. He followed the French idea of the classic
Greek drama, and deserves the distinction of having
founded the first independent national style of French
dramatic music.
Lully's position offered him opportunity to earn
large sums, and his selfish, avaricious nature led him
to use all such opportunities. His fortune, at the time
of his death in 1687, was placed at about $70,000, a
large estate at that time, equal in purchasing value to
three or four times the amount today.
After Lully the principal contribution to French
opera was made by Rameau (1683-1764). He was a
man of unusual attainments, a physicist, a mathemati-
cian, an expert player on harpsichord and organ, and a
profound theorist in music. It is recorded of him that
at fourteen he could extemporize a fugue at the piano
on any given theme. His youth was spent in travel in
Italy and a connection with a traveling opera troupe as
violinist. For a time he remained at his home in a
small French town studying by himself, and then went
to Paris, at the age of thirty-four. Again he retired to
the country and wrote his famous work on harmony in
which he placed the subject on a scientific foundation,
independent of counterpoint and its practice.
For the second time he went to Paris where he pub-
lished his harmony and another work and won great dis-
tinction as a learned musician. The greatest period of
his life was now to come. All the time that he wrote
music for the harpsichord and organ he felt his inclina-
tion for dramatic composition growing stronger. It
was in 1733, when he was fifty years of age, that one
of his operas received its first performance. Rameau's
general style is based on that of Lully, and his works
show an advance on those of his predecessor, especially
in deeper, richer harmonic qualities, and in the orches-
tration due to improvements in instruments and skill
in execution. Lully and Rameau are regarded as the
representatives of national opera in France.
rate he received his first instruction from the father.
Of course he studied singing and, as we know from
later accounts of his skill, the organ and harpsichord.
Alessandro was also interested in the orchestra and es-
pecially in the violin which gives us reason to assume
that Domenico also learned to play the instrument
which had been perfected by Amati and also by Strad-
ivariuswhose "long Strads" belong to the period of
Domenico's boyhood. Among Alessandro's pupils was
a young man named Greco who became a famous
teacher of composition in later years. The fact that
all of his compositions known in these later years are
for the harpsichord is significant and may account, in
part, for the choice of that instrument by Domenico.
It is possible that he was a pupil or intimate of Greco
and influenced by him.
Before he was twenty years old Domenico began his
professional work by remodelling older operas for per-
formance. But there was not the field for him at Naples
to suit his father. The latter wrote to Ferdinand de
Medici, ruler at Florence, that Domenico's talent was
not of the sort for that place. To quote from his letter:
"I send him away from Rome also, since Rome has no
roof to shelter music that lives here in beggary. This
son of mine is an eagle whose wings are grown. He
ought not to stay idle in the nest and I ought not to
hinder his flight." He asks the Duke to give the
man patronage.
Although this letter was presented to the Duke in
Florence Domenico did not stay there but went to
Venice. In this city he studied for some time with a
celebrated teacher, Gasparini, who had been a pupil of
the famous composer-violinist Corelli. The latter had
written for his instrument a number of pieces which he
had called sonatas. Doubtless Gaspanni had become
familiar with this form and passed his knowledge on to
Scarlatti, whose musical turn was more and more for
the harpsichord and instrumental music.
During his stay in Venice, in 1708, Domenico became
acquainted with Handel, on a visit to that city. They
played for each other both harpsichord and organ,
doubtless talked over their art as executants and still
more about composition, and became close friends.
In response to an invitation from Cardinal Ottoboni
both young men went to Rome to play. When they
arrived they were surprised to learn that the Cardinal
had arranged for a competition between the two. The
Cardinal's palace had a large hall in which he was
accustomed to hold concerts. When Scarlatti and
Handel reached there they found the host and a brilliant
array of guests. First one played the harpsichord,
then the other, and perhaps they each played a second
time. The organ came next and both showed their skill
winning the applause of the guests. When the affair
was over the verdict was a draw as to the harpsichord
playing, but that Handel was the superior organist, a
judgment to which Scarlatti agreed. This contest in
no wise affected the friendship of the two musicians.
In his later life Scarlatti wrote an interesting piece
which shows his skill in handling the older contrapuntal
style, one that he abandoned in his sonatas. A story is
connected with this composition which may be true.
It runs thus: Scarlatti had tried in vain to find a sub-
ject for a piece in fugue form. He wanted something
peculiar and original. In despair he turned to some
other work for a time. While he was thus engaged his
pet cat happened to jump on the keyboard of the
harpsichord. Startled by the sounds the animal took
a step vs^ith each foot before it jumped to the floor.
CHAPTER X
SINGER AND TRUMPETER
During the first hundred years that followed the
beginnings of opera the art of singing showed great
development. Singers displayed extraordinary skill
in the management of the breath, in the rendering of
rapid passages, in brilliancy of tone, great power as
well as softness of tone, staccato and legato, and other
excellences in vocal execution. They dominated the
operas of the times and held the favor of the public.
Not content with the position they enjoyed they gave
way to all sorts of caprices, even going so far as to
refuse to sing arias which did not give them what they
considered sufficient opportunity to display their skill
as executants. Simplicity and charm of melody had no
appeal for them. Only the most florid passages were
acceptable. This explains why many of the operas
written towards the end of the seventeenth century
and the first half of the eighteenth, even those of com-
posers of the time of Handel and later, abound in
The tones struck the ears of Scarlatti who seemed to
find in them something to suit his fancy and stimulate
young his imagination. "I have it!" he exclaimed, took a
sheet of music paper and wrote down the four notes
which corresponded to the keys pressed down by the
cat. From these he elaborated a subject for a fugue
which has become known as the Cat's Fugue. The
skip of the augmented second from Eb to F# and
from Bb to C# gave a novel and unexpected effect in a
fugal work which usually avoids chromatic successions
such as this.
Scarlatti's contribution to piano music was important.
He wrote a large number of pieces for the harpsichord
which he called sonatas and studies. They do not
correspond to what we know as sonata although the
principal musical ideas are repeated several times
with changes into other keys. In structure he suggests
the two-part form, concluding with a repetition of the
first part. If he were not a great composer it is certain
that he was complete master of his instrument; he
knew how to treat it, the kind of ideas to assign to it,
and always to make the material suited to the hand of
the player and the instrument. His technic went far
beyond that of his contemporaries. He introduced
new and striking effects, crossing of the hands, long
leaps, broken thirds in contrary motion, rapid repeated
notes, runs in thirds and sixths. It is said that he
played with great certainty, fluency, and brilliancy,
the various compositions he wrote, some of which are
to be found in courses of study for the advanced student
of today.
For a number of years several of the sonatas have
been used by concert artists, notably by Mme. Clara
Schumann who was accustomed to play the sonata
in A, which has been called L'Eventail (The Fan);
also by De Pachmann. In this the device of cross-
ing the hands is used with strikingly beautiful ef-
fect, but with a disregard of the technical comfort
of the player of moderate skill which invites disaster.
In closing this account it is urged upon the student
to whom may be assigned one of the sonatas of Scar-
latti that he not only give attention to the technical
content but also compare the structure with the works
of later composers, C. P. E. Bach, Haydn, Mozart, and
Beethoven in which the sonata form was developed.
brilliant arias, and contain few numbers calling for
pure, sustained singing tone.
Among the greatest masters of singing the most
prominent name is that of Farinelli. In those days it
was the custom of musicians to use a name other than
the family name for public work. Sometimes they
were known from the towns in which they were born.
In this case the name seems to have been that of an
uncle who had won reputation as a violin player.
Farinelli's true name was Carlo Broschi. He was born
at Naples (or near that city) in 1705. His first instruc-
tion was received from his father who was probably a
professional musician inasmuch as there were com-
paratively few well educated amateurs in music in
that period.
From his father's care he passed into the class of
Porpora, a distinguished teacher of singing and an
opera composer. As he never lost his soprano voice his
11
training became continuous with the result that at
seventeen he appeared in Rome in an opera. Previous
to that he must have sung in pubhc for he had become
famous in southern Italy as // Ragazzo (the boy).
The story is that Porpora, delighted with Carlo's voice
when the boy was brought to him, agreed to take him
as a pupil on condition that he (Carlo) would follow
without objection all of Porpora's orders. The rigid
instruction in all the essentials of the technic of singing
added to the great natural beauty of the voice resulted
in the finest vocal art ever known.
On the occasion of Farinelli's singing at Rome a
novelty was introduced into the opera, which was
composed by Porpora. A German trumpeter had
aroused great enthusiasm in Rome by reason of his
extraordinary skill in playing the instrument, the
beautiful tone he produced, and especially his mar-
vellous command of breath. Porpora wrote an obbli-
gato for the trumpet to be played with an air sung by
Farinelli. The singer and the trumpeter vied with
each other as to beauty of tone, brilliancy of execution,
and breath control. The youth was declared the
winner on every point.
When he was twenty-two years old he contested
unsuccessfully with an older singer, Bernacchi. Fari-
nelli took his defeat gracefully and asked Bernacchi
to give him lessons, a request which the latter granted
and thus perfected the talent of the greatest singer of
the time. Ten years later he changed his style from
that of the bravura which was cultivated by opera
singers to one of pathos and simplicity. This is said to
have been due to a suggestion made to him at Vienna by
the Emperor Charles VI, that although his singing
excited astonishment it failed to touch the heart. The
emperor's advice was that Farinelli be " more simple
and more expressive." With the spirit of the true
artist this suggestion was followed.
In 1734 Farinelli sang in London. It is related that
in one of his concerts the first note of an air was taken
with wonderful delicacy swelled by minute degrees up
to an amazing volume and then diminished to a mere
point. The audience applauded the wonderful tech-
nical feat for fully five minutes. Farinelli was re-
ceived by the royal families of England and France
and favored by them. In 1736 he went to Spain. The
king, Philip V, was mentally depressed at that time.
The queen arranged that Farinelli should sing a few
tender pathetic airs in an adjoining room. Ihe effect
was immediate. As a result Farinelli was persuaded to
remain at Madrid and became an intimate friend of
the king, a connection which endured for nearly twenty-
five years. After Philip's death Farinelli returned to
Italy and lived there in luxury upon the wealth he
had accumulated by professional effort and through
the generosity of Philip. He died in 1782.
12
This period represents the highest level of the old
Italian art of singing, which Farinelli embodied in his
earlier career. The opera was dominated by singers;
the public clamored for mere vocal display, and com-
posers were forced to yield. The result was a deteriora-
tion in true dramatic expression. The text of an opera
became a mere medium for the leading singers to ex-
hibit their art. There was no attempt to impersonate
a character or to develop a plot. The condition called
for a radical reform.
This was brought about in France by the efforts of
Gluck. He was an Austrian, not a Frenchman, and
was born in 1714. His early musical training consisted
of instruction in singing, and playing the violin, harpsi-
chord, and organ. To these he added the 'cello when
he was about eighteen. In 1736 he went to Vienna and
later to Italy. Here he studied composition. Between
the years 1741 and 1767 Gluck lived mainly in Vienna
engaged in writing operas in the prevailing style. In
the latter year he brought out an opera Alceste, in
which he sought to present a new style of dramatic
music, one in which the music should enhance the ex-
pression of the words and the pathos of the situations.
A second work Paride ed Elena followed in 1770.
But these reforms were coldly received at Vienna.
Gluck determined to try his fortune at Paris believing
that the principles of French opera were more favorable
to his views. In addition to this he counted upon the
support of the Dauphiness, afterward Queen Marie
Antoinette, a member of the Austrian royal family.
Gluck had been singing master to the Princess before
she married the heir to the French throne. Marie
Antoinette seems to have had a real affection for her
former teacher.
By reason of Marie Antoinette's support Gluck was
able to bring to performance Iphigenie en Aulide, in
which he united the classical drama and the music of
his time, and replaced the antiquated works of Lully
and Rameau with music dramas in which the effects
were produced by a mingling of the finest forces of
music, poetical text, acting and scenery. The music
was marked by an absence of the formerly popular
runs, high notes, and other points of vocal display.
Recitative and declamation were dramatically ex-
pressive, the orchestra was used to strengthen the
thought of the text, and the chorus was used to build
up the emotional quality of a situation. In every
respect we may consider the work by Gluck and those
that followed in later years as the beginnings of modern
opera. It was from Gluck that Wagner gathered much
inspiration. Padre Martini, the celebrated Italian
author and composer, said that Gluck combined in the
musical drama "all the finest qualities of Italian, and
many of those of French music with the great beauties
of the German orchestra."
UNIVERSITY INTERMEDIATE
COURSE CHAPTER VI

BROKEN CHORDS
§ 1. When the tones of a chord are sounded suc-
cessively instead of simultaneously the resulting
figure is Any chord whether
called a broken chord.
in close or dispersed harmony, and played with
the hands in normal or expanded position, and
whether broken regularly as in Exercise No. i or
irregularly as in Exercise No. 3, may be termed in
general a broken chord. When the underpassing
of the thumb or the overpassing of the fingers is
employed as to duplicate or continue the broken
chord in an adjoining octave or octaves, the result
isusually spoken of as an arpeggio. It is also
found that arpeggios are usually played fast,
thus giving the harp effect which suggested the
use of the term arpeggio or harp-like.
It should be evident that to play a broken chord
clearly the chord in its solid, or unbroken form,
should be mastered first. This method of practice
is advised for Exercise Nos. i to 6. Observe that
the difficulty consists in the rapid and accurate
adjustment of the inner fingers (2, 3 and 4) of
each hand. The outer fingers always take an
Octave. Therefore, "set" the hand by getting
the Octave first, then bring the inner fingers into
position. After the chords in their unbroken form
can be played without hesitation, practise them
VI
as written. The right hand part of the Etude
by Mortson consists almost entirely of broken
chords. Enclose all of the tones which belong to
the same chord in a horizontal bracket, then write
them out as solid chords and play them in this
form; then in broken chords as written.
Rondino, Clementi
so §2. This movement from a Sonatina composed
by Clementi, is fairly representative of a type in
vogue during the early development of purely ab-
solute music. Its form and imitative content are its
chief features. Every tone is important, though of
course in the monophonic style, such as this, the
right-hand melody is required to sound more prom-
inently than the broken chord accompaniment.
A great variety of touch is not required for any
of the works of Clementi. The chief musical
interest is contained in the thematic development
of the material. This produces an art structure
which we call the classic form. Not that the
classic works are without tonal contrast; but this
element in all older works is less evident than in
the more modern compositions. Ultimately the
piece should
be played in a very fast tempo,
though at first it should be practised slowly. [§ 4]

ETUDE
MORTSON
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•/
i •/
^
cresc.

4„ 1^

cresc.

^ ^^^
8-

#1»
:^
A
^ ^#^^
piuf
'):
f V It^ ^ »J=
^ i^

^^^f
21
 Exercise No. 1

jri r^
'

"ijrrjr p l

^rr^fcijraj r i

Tn ^T T if^

22
Exsrcise No. 4

Exercise No. 5
^^m

T~ iIjJ' iXiJ

^jj-dii-
23
The Lark, Glinka
§ 3. The composer of Thp Lark was
father of music in Russia and the founder of the
modern Russian school of composition. He was
intensely patriotic and all of his music bears the
strong impress of his nationalistic tendencies. The
plaintive character of this theme is characteristic
of the majority of Russian folk melodies which
have served as the thematic basis for most of the
composers of the Russian nationalist group. Enun-
ciate the melody with a firm pressure touch in a
subduing the accompaniment
legato cantabile style,
until the broken chord tones blend into a har-
monic background that supports but does not ob-
virtually the scure the melody.
Tarantella, Loeschhorn
§4. Practise the left hand part at first as solid
chords, in the manner previously suggested (§ i).
In working up to the required speed, use a slight
rotary motion of the wrist. Observe that begin-
ning with the second period (9) the lowest note of
the figure is sustained. For the right hand pas-
sages a clear finger action is required, with rather
a brilliant tone and a touch that approaches the
non-legato.

CUMULATIVE REVIEW AND ELABORATION OF FUNDAMENTAL TECHNIC

First Assignment Scales: Play the major Scales in the Keys of

Special Technic: Review the Sequences in ex-

C, Gy D, Aand E, in two octave lengths, in con-
trary motion, as in Example No. 9.
panded hand position, Example No. 3, playing
Review: The Seven Diminished Seventh ar-
each group of six tones as three Doublets; also as
peggios, beginning on the white keys.
if each group of six tones consisted of two Triplets.

Also practise the C major triad and its Inversions,

as broken chords played legatissimo, as in Example
No. I. Also reverse the figure for the left hand,
moving downward. Practise each hand separately.
The preparation for triad arpeggios. Example No. 6,
should be practised with the right hand an oc-
tave higher; two fingerings are given, and in each
case the fingering is the same for both hands.
Second Assignment
Special Technic: Review the Sequences in
expanded hand position. Example No. 4, each
measure consisting of six Doublets; also as four
Triplets.

Arpeggios: Practise the arpeggios on the four
model major triads, in Root position, in the Keys
of C, By A and F'^ for the left hand, as in Example
No. 7; also the four model major triads in the
Second Inversion, in the Keys of C, 5b, and F#
for the right hand.
Chords: Review the Ninety-six Triads,
Arpeggios: Practise the arpeggios on the three
model minor triads, in Root position, in the Keys
of C, B and E\> for the left hand, as in Example
No. 7; also the three model minor triads in the
A Second Inversion, in the Keys of C, B\> and Ev
for the right hand.
as solid Chords: Practise the complete series of Ninety-

chords. Example No. 5. beginning with the First Inversion of the

six Triads'
C major triad, continuing as in the Model in
Example No. 1 Legatissimo Chords Example No. 1.

Scales: Practise the major Scales in Contrary

r-m
i2.S5
J^J
'r^ nrn
i
i

1245 1345
J^rJJ
f
1235
m Motion in the Keys of C, G, D,

through three octaves.

A
and E, Ex-
ample No. 8, altered to Triple rhythm and extended

Review: Continue the review of the Dominant

Seventh arpeggios, with increasing velocity.

Example No. 2 Model for the First Inversion of the Ninety-six Triads
5 5 5 5
3 3 3
1 1 1 1

13 i'f'ff"F /^^>T'^^^VF"'F"*N
,t"[ff
5555
3 3
5555
3 2 3 3 etc.

24
 — F

Exercise No. 4
Moderato

^ Un :-r ^
i
n
^rrmn-n
i Lf
'J
i S
^ r-j u^^ -»- -w i^ P

^ LJ__U
s m p p — r r Lr clj ^
Exercise No. 5
Moderato
1 i i

4 :^ 2 4 3 2

2 3 4

25
Example No. 5 " The Ninety-Six Triads
I
U^tfe =Arii?i ±
=^iF3
^^=1
P^^ ^
p
ijfi

HI u u_l. I
^ : ry^=r^fiif=pttppp3^^
^

I I I I - I II I I I I I

S :k
'!
k^f ^f ^f if t l
i
# atr^V i ^
XI
p^jt 'i"!
i '

jii
XII

n i kJ 'fj a|iig^^ii i n iri ^iIJ t"

'

"J j
" ^ 11

Example No. 6 Preparation for Triad arpeggios

Example No. 7 Fourteen Model Triad arpeggios Root Position and Second Inversion :

[Sup. Tech. II, Nos. 13-26] .

5

i B major
m^ k 2 3 m 3 2

s
^mm
1
^
Root Position

1 3
^^
i^ 2 1

'ffftt f
26
 1 ^ ii^ia ihf
^
,

m * 1*'^

^
tJ 11 « 3 3 3
major
Bl> "^ a
3 1

Second Inversion
1 2
m '\

^e

2 i
3 1
g i

3 1

FS major
Second Inversion
If ^
1 2

ft^j f hhh, iS
m
^^
4

m m
fmm 1 2

l>^ fl^^l

C minor
Second Inversion
m 3
1 2 1 atj 1 2

y-—a^
P
-3-

nhM" 3 1

» »,. H_^
—
-^ 8-
f^lfc^

8 fe *fe »
,,,

T^

^
1 3
^'^Bkminor 2 3
Second Inversion

m
1

5
2

2
JLi ik

1
^ li
3 ,
~9-
5
Example No. 8 The Major Scales, in two-octave lengths, in Contrary Motion

29
 a 1
:f^^-gff a
3

Dl.
3 4

(§''-i>i> I ji?3 £^ ^^^ • #

i
3 1 1 -'
!^
At

^'''' J
'

liiJ J

Eb

[f
'V -J }tj^ ^ ^
r ij i.
-fro-
3 1
^^ i

30
UNIVERSITY INTERMEDIATE
COURSE CHAPTER VII

VII
LEGATO AND STACCATO
§ 1. The position of a note on the staff indicates The simplelegato touch is produced by allowing
the pitch of the tone. The form of the note in- the finger to remain on the key until the following
dicates the amount of time which is allowed for tone is played, avoiding any rest between the
the tone. It does not necessarily follow that the tones, yet without overlapping.
tone must continue to sound for the full time al- In legatissimo the tones slightly overlap, the
lowed. The tone may be shortened and a silence finger remaining upon the key until after the next
be allowed to fill the time until the next tone is tone is played. [§ ^]
sounded. These differences result from the man- In the staccato touch the finger strikes the key
ner of striking and releasing the keys of the piano. and is lifted at once. [§ 6]
A tone which completely fills the time allowed, • The exercises for legato and should be
staccato,
will join on to the next tone without a break. applied to single tones, scale passages, broken
Such a tone is said to be legato, from the manner in chords, broken and solid Thirds, Sixths and Oc-
which it is played. The term may be applied taves, using the simple legato, the legatissimo, the
both to the result, and to the touch by which staccato and the medium staccato. The various
the effect is produced. A tone which is shorter touches may also be applied to the Scale passages
than the allowed time, is said to be staccato. for right and left hands alternately, in the two
There are various degrees between the extremes Studies by Lemoine.
of staccato and legato.

Exercise No. 1 Preparatory Study for " Regrets "

Moderate

31
 Exercise No. 2.

I
3X:
1

m ^feS
. .1
5.

m ^^P ^
Touch Variety in S\3ale

1 2
Passages

^
at*
siitdle

1 ^PlS
fcl- >>

4 3

^^ 2 12 4
2 1 2

^^^ ;f?Sfafi

^Jj?3 ]lT^ |

^tf — -4 s — --t
—
-t
»-
33
 1

TWO VELOCITY STUDIES

Scale Passages for Left and Right Hands LEMOINE,
O}). 37, Nos. I and z

5- _^

Allegro

S
Us la^^ ^

^ m^ m ^m /
m m^
J-SL ^

^m Irfm
1

^ w^ s

i T£E

V\\ > i

^ sVrrr fff

34
 ETUDE

^^
MARMONTEL
Moderate assai
®
1,

fe^ ^=i=*r
P^
^^ s

')^-\
m;
^f

i
P
%
P
=^=
^ :^ iPi
I

n
:z^
cresc

^^ ^^ ^ T2^
W^

^ i
::z

i^ cresc.
ft
::q?=

%
>~^ 5^_^ 53 4_3 *_
SS
4^~- 4
3 g
^ J^
Jij)^ J
^^^J
i 3 1

f=r=#f ^ </m.
f
Jl^
^4J^^il^ '^ti^
^±±L

7- J i ^
-s-
f -s"-^

® ® .

0E^^ 0E^m ^ !• P-

^
r-ff-

?
fnf

mP ^^2=

P
^z=
m ;s:
• tm
4F^
a #

-3— 4-

r^r" r r r i t^r'n^r r r l
yirfr r r l rvtir r r
poco ^ animando
^^=^ ± a^
4"
^
W^ s ^El^
^
^^
3 i
4^ * 2^4--^^ '^PT
y~rtir"y
ii :si
^ -*

rfm. i^

V' 3 i i
P P
35
^ ^
S?T3f
 REGRETS MORTIMER WILSON
Andante Op. 41, No. 8
51

41 13
iE^
W^
v^ ^ ^^0=1 i 5ES
r 4
1
* r
45

MINUET IGNAZ JOSEPH PLEYEL

Moderate
4
125 4
1 ® 124
3 5
8
4
2
5
3
4
2
©a 3
1
i
3.
®
t lj¥=l=¥ g y i I Ns t W
^^ i
p i;

^-
m^ p -Mfg f j f
^gf^ i ?
-y!h»-

36
 Z
®
4
4
135 4
1
4
1 4 3
1 2

w iEtet

^^ -1 —a-
^ m^ ^
-3 1-*-
sz

f
® @ 4
2
5
3

fc=tj g
i
UI[£f g^'^^#
^ii ^
l
^ aciijz

m/"

i^ 5 4
f=i^ m i i fei

37
 y

THE CLOCK
THEODORE KULLAK, Op. 63, N? 2.

©
^m
Allegro vivace

mm
1 2
\f >> 1

i
j.# i
0^0 i J

^ r staccato

«'-^-* • _ # 0-^-0-
4^

sg
/
w^^~w

4 5 5
5

^^
^ ^ m.

1^
3=^
5]

IT
4K 3

f^ fr
7 ^^ i
s/J

^ «•/ #•«
IS ^ /

1
r

^
5

i ^ # g—
. I*
^ ^ ^s i
ftt^
E p

m mm m
P M ^^9-
M. :^-9-

^m 'M m^ fc^ i
'

2t=±=fli

S
2

t^^
4

S 2 4

i ^
m m ^m
^-^^
1 2

»f

S -0—1-0- -0---m- Wf ft=fc

i JT^g" lE^r- ^S
:p:^!S?e

4 5 5

^ 0-
5

1^ 7^=^ ^i
m ^J Jt A
i
38
?
/

f =?:
fr 7"
 —

LITTLE ROMANCE

Non AUeero. ij = 9i!l

ROBERT SCHUMANN
^.* Oe^,No.l9

S *
S I h
i -J.'^J i^
W¥
^^ ^^^ ^
it'

^ *3i i
J-
5i

&^

* ' ST n fT6
-2^1
it

TT^^Ttf
Mf^ "^7^

J^S ^3
e^
^ J ..>J
^p •

"r
J

i^
J.
ijE^
U-

^p?
i ^
^^^^ rp
5-i p
^p
J-
m » K m
^
-

f 1/
:^ • #

p
^/'
:^=.

y ?/'^
^i
r p
:i e ^

^ t
'&J).
A
*
If I
'^. %
if
T ih-J\ J
iE3
% ^^^
i

dim. ^— ^^
#^>»# ii % » * is
PI
y
a;
M '
[?
P 7 '^ ^^ fe i
iii
'^s. *
It
'as.
t
^
ii'^

^r^
i
TT
^ dim.

mm i^SE^
'^'f
,^
i$/?:

MU i
7 p r
^
y ff
i
"
p
I
y
p ^^
J-

^
i
"r ^

39
Etude, Marmontel D minory and the third and fourth measures vn-
§ 2. It will be observed that this Etude is formed 12) are in C major. The next four measures (13-
from one melodic idea, first appearing in the first 16) are in the Key of C major, returning to the
four measures. Two general periods are formed original material with slight alterations.
during the development of this principal idea. Be- The Trio (17) is in the Key of F major, the' Sub-
sides a slightly different development of the melody, dominant to the Tonic of C major. The material
there is also a difference in the style of the har- now that it is more florid.
differs principally in
monization in the latter half of the second period. The fourth period, in the Key of F
major, is a
[§ii] Second Subject to the Trio (25), although the
Regrets, Wilson material drawn from the First Subject of the
is

§ 3. This short tone-picture serves to show how Trio. The

return to the beginning {t,3) is neces-
the silent exchange of fingers, makes possible the sary to complete the form. [§ 14]

application of the legato touch, by which to bind

together the tones of the various phrase-groups as The Clock, Kullak
called for by the long slurs in the right hand part. § 5. Here required a combination of staccato and
is

Exercise No. i is a Preparatory Study for this legato touch. The staccato will need the assistance,
composition. [§15] of the wrist, but while playing the connected figure'
in the fourth measure, the hand remains quiet
Minuet, Pleyel and only the fingers are used. [§ 12]

§ 4. The First Subject, closing with the end of the

period (8), consists of four groups, all of which
first Little Romance, Schumann
are rhythmically the same, and principally are in § 6 Among the masters who have developed those
.

the Key of C major. The second period (9-16) is attributes of music capable of expressing a variety
composed of the same material as the first period, of thoughts and moods, there is no one more
only now the first two meaeures are in the Key of prominent than Schumann. [§ 16]

CUMULATIVE REVIEW AND ELABORATION OF FUNDAMENTAL TECHNIC

First Assignment Review: Play the Melodic minor Scales of A,
E, D, B and G jninor, applying them to the 5, 9
Special Technic: Practise the alternation of
and 17-note scale in three speeds, Example No. 4.
adjacent tones forming a Trill, as Trills in three
speeds, Example No. i, the metronome speed in-^

creasing gradually from 60 to 100 to a quarter note. Second Assignment

Apply this rhythmic pattern for Trills in three
speeds, to the following:
Ab Bb £b F B
Dtt E F G\>
Use the fingers: i 2, i 3, 2 3,, 2 4, i 4, 3 4, 3 5, 4 5.
Arpeggios: Play the Model for major triad
arpeggios in Root position (2-vi, Example No. 7)
in the Keys of C, B and A, for the right hand,
and the Second Inversions in the Keys of C, B\>
and A for the left hand.
Chords: Practise the Ninety-six Triads (2-vi,
Example No. 5) beginning with the first triad in
the Second Inversion, and continuing as in Ex-
ample No. 2. This may be called the Ninety-six
Triads in the Third Position.
Scales: Practise the Melodie minor Scale of F#
minor in 17-note lengths, as in Example No. 3,
and apply it to the 5, 9 and 17-note scale in three
speeds, as in Example No. 4.
Special Technic: Practise the rhythmic pattern
Example No. i, but re-
for Trills in three speeds.
Ctf
versed to begin with the upper tone. Apply the
pattern to the same changes of tones and fingers
as in the first assignment.
Arpeggios: Play the Model minor triad ar-
C and B minor in Root position (2-vi,
peggios, of
Example No. 7) with the right hand, and the Sec-
ond Inversion of the C and 5b minor triads for
the left hand.
Chords: Continue the practice of the Ninety-
six Triads in the second and third positions.
Scales: Practise the Melodic minor Scale of
C# minor, in 17-note lengths, as in Example No. 3;
also apply to it the 5, 9 and 17-note scale in three
speeds, Example No. 4.
Review: Continue the review of the Melodic
minor Scales as in the first assignment.

40
Example No. 1 Rhythmic Pattern for Trills in three speeds
[Sup. Tech. II, No. 37]

^i J-^ 3j^j3jjijrajjjjj?jjjini ^^
Example No. 2 Model for Second Inversion of '*
The Ninety-six Triads "
5555 ?33
333? SSti 5

,, J i i ^^ f f H 3

f.'f ^f ^'f
^^p i^f YiiT'iif II
M
3333 5
32
555 5555 3 3 et<5.

Example No. 3 Melodic minor Scale, in seven teen-note lengths: F# and C#

[Sup. Tech. II, Nos. 39 and 40I

minor 12 3 "1 4 H 2

Example No. 4 The 5, 9 and 17-note Scale, in three speeds

9 note« 2
5 notes 1 1

7' iJ r
r r I rr r r
'^ isr-^
1 2

T— 3-
^^ F * ^ o

doubling the speed

17 notes

^^P 2 3 2
'

quadrupling the speed

41
 BIRTHDAY SONG
FOUK-HAND PIECE
Poco maestoso C. GURLITT
Prim
I
4*hr -4 w ^te
mSecondo
w^
^M f
13 5 1 2

^4 5 3

^
^

^
•r-4>. \

^ *
3 1

^
4

*
a 1 =:^

-^ i^ ^^ ^
Fine

i tf
'^tf
g

^ ^ /
£ nf—m
dim.

D. C. al Fine

^m m
^i_iiipr

a a u
/
f^ ¥ # P^
»
dim.

Z>. C. a/ Fine
42
UNIVERSITY INTERMEDIATE
COURSE CHAPTER VIII

VIII

THE GRACE NOTE

§ 1 . The Grace note is one of the simplest forms notes were printed as Grace notes which today
of ornamentation. It is a small note or group of would be given definite rhythmic values in large
notes to be joined more or less closely to the note notes, as a regular part of the melody.
which follows. If it consists of a single note it Practically the use of the Grace note is now re-
usually is one scale-step above or below the tone stricted to very short accenting notes. For this rea-
which it ornaments, or "graces." In such case it son there is often a tendency to play all ornaments
partakes of the nature of the rapid alternation of too hastily. This should be carefully avoided. Es-
two tones, as in a Trill, or in the Study for Trill pecially in older works a quiet and even manner of
Preparation by Czerny, in this chapter. A group performance is essential, even at the expense of a
of Grace notes "usually consists of a diatonic or a slight holding back of the tempo, as in a well-
chromatic scale succession. managed rubato. Although a Grace note is smaller
According to classic custom, Grace notes took than the principal note, it is nevertheless important.
their time-value from the note which follows, and
there are many instances where this custom should In the Desert, Wilson
still be followed, as will be found in the Minuet § 2. The preparatory Study which follows is based
by Haydn in Chapter XIX. In modern com- upon the scale passages of In the Desert, and
positions the manner of performing such embellish- although perhaps more than the material
difficult
ments is quite the reverse. Grace notes are now of the four-hand piece yet an excellent
itself, it is

intended to be played as if they were a division introduction to it. It should be thoroughly prac-
of the preceding note. In former years many tised before proceeding to the duet. [§ 7]

Exercise No. 1 Preparatory Study for " In the Desert "

Allegretto

^Mm ^m 1^^
m^cresc.

43
 —

ETUDE
CZERNY
Allegro comodo
i

i t# JJjJJJ ^s ¥
J ^JWJj

^ /? 1

^v^^ at^at •^
J*J» J ^
^^ j>jjJJZ^?S
f^^
^
T^T

^^ £

s
?^=f
^.^^
TT^-W
:^^
J=
PmPmPm.SMf:
1
rrrnTTrr

^ ^ 7 i-

^^^
^J- . . J *

cresc.
m0^0M0mP-rf'

poco a poco
^M\ 3r.r»rr3
?
"n —ri —rr \

7 y i V
^
J 0MOa0 ^ ^ ti0aP~-w~^~md^ 0F
w^^^m£i ft
^

^^ ; ? 7 7
12

j:
1

44
/
 5
3

,.uf^Lu,,
#--^=szS- - i==== =====
dim.

-^^—h —J •V
f f '>!••

1:^4 3 4

"HSSSEI BSSSSS^ ESSSSS,^ <

^e :P

> y ? ^ =r^

:!3jro:^ro.gjTO.j ^^^•' 1
1

i *
^ f
2 4 5 4

JS^J^ ^^.ra^
t=qfe
S y ^ y ^

dim.

m 4 I -y
^ i

-SSn^^ JOTSS -S^J]^

1
-7—r- P y y f' i 1
J)? 7 7 y

^^ 1
3
i^y-T-
I
_^^_^ y 7 j -'-r-r-

45
 SONG OF THE TOILER
PASCONET
§ 3. The Grace note (6) should fall slightly ahead the piete. The two Grace notes appearing in the
of the first count of the measure. The rhythmic third period (22) also should be placed before the
structure will be similar to a sixteenth note fol- accent; they will subtract a slightly larger time-
lowed by a dotted eighth note. This manner of value from the preceding note. The same is true
performance will apply to all other Grace notes in of all the Grace notes in this chapter.- [§ 4]

Allegretto ^^
^®
f^^m
3 \

m ^ ?
^3 2
^
12
^ U-L-
^ iE# ^
3 15

^ ^ ^
¥ ^
s ^ Ie
15 12 4

4 m
ii "" jT^

^ ^
# ^ 1^
^ £ ^ ^
CHILDREN'S BALL
Allegretto moderato (T\ PASCOUET

^ ^ :£
f i^ i S
P.

5 "T^^ * 5 1
3
# -P^
Xt
^^
mf 5

'm
-1 . ^^.

^ I
^ i ^ 1 if;

m w M ^m u
# ^ 1^
5 T 5 1
3 3

46
 3 4 5,

-^ 13 4 14 5 4 3

i ^ ?5^'
• •
1
fV-

;^
!}

^ m lUP^ UAP^
4
4
3 4 5 * t
^i^
5,
_3 4 i_^
«==» i»—1» —I*
^^4=

* ?= ^
i ii i=ll
t ^ fe^3
1
3
f -^-^ i

MAZURKA
CZERNY

^ ^
Moderate
®
^i ^ ^^ ^^ iA±
LLi i_a
paspp Ui mf-

Me^ F
f
^= a
# ^
#

^# 5

rrrrrr rrrf
I^U ^J_J.
i
^w ^
 — «—

Clown and Pantaloon

WALTZ F. BEYER
Allegro

i
^
^ ^ 2.

^
3
A
^g 3
2 A

^ ^ ^
4^

/
^ tT^T^f^T^T'^f^t
«=* «=* «=* #=* *=* J=f •
\f
15 3 \f-**

Play this ending 1?.* time Play this ending on repeat

^S ^^
I 1 omit on repeat || 3
3 2
:^ i
«£lt± g r f>

dhn.

to — «t :tS g
^T^T^ 'r~m
¥
uz. »
i- t
»:*
t T-
t=t
f

^ a ^ ,

^^
• »Trr .
<-^ • »
^' V v

^ #)
m m itrf
mi^ ^ /
i
I'
 — *

IN THE DESERT
MORTIMER WILSON

^
PUPIL Op. 43, No. 15
Allegretto
31

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52
 ^ — —

CUMULATIVE REVIEW AND ELABORATION OF FUNDAMENTAL TECHNIC

First /Assignment
Special Technic: For pupils with small or
tight hands it will be necessary to use the prepara-
tory exercise for Silent Exchange of fingers on
Sixths, in Example No. i. Practise the Silent
Exchange of fingers upon Sixths, as in Example
No. 2, for hands separately, the left hand an octave
lower than as written, gradually increasing the
metronome speed from 88 to loo to a quarter note.
Arpeggios: Practise the triad arpeggios (2-vi,
Example No. 7) on the black keys, the F^ major
and the £];> minor triads in Root position for the
left hand, and the same triads in the Second In-
version for the right hand.
O'ORDs: Practise the minor Cadences in A
minor and E minor, as in Example No. 5. Observe
that whether the Key is major or minor the Dom-
inant Chord is always major, and that it is made
major in every case by the insertion of an acci-
dental raising the Third of the triad a half step
higher than would appear from the signature.
Second Assignment
Special Technic: Practise the Silent Exchange
of Fingers on triads, as in Example No. 3.
Arpeggios: Apply the model triad arpeggios
in the first assignment, to the three triple meter
rhythms with one Doublet, Example No. 4.
Chords: Practise the minor Cadences, in B
minor and Fi^ minor, as in Example No. 5.
Scales: Apply the Melodic minor Scale of E\}
minor. Example No. 6,' to the 5, 9 and 17-note
scale in three speeds (2-vii, Example No. 4).
Review:, Practise the Trills in three speeds
(2-vii, Example No. i) on the tones and with the
fingerings previously assigned; also the Diminished
Seventh arpeggios beginning on the seven white
keys, played in triple meter, and continued through
five octaves.
Example No. 1 Preparatory Exercise

y
5
5 5 5
Scales: Apply the Melodic minor Scale of G# 2_1 1 8 ij a
minor. Example No. 6, to the 5, 9 and 17-note
scale in three speeds (2-vii, Example No. 4).
Review: Continue the review of the Melodic
minor Scales, and apply to them the 5, 9 and 17-
F2 * 2 \_1 i-T ^-T
m
^
note scale model in three speeds.

Example No. 2 Silent Exchange of Fingers upon Sixths

[Sup. Tech. II, No. 36]

? 2 J 5
5 4 5 4
2|1|
zzz lSh&
ap 2: 2:5010 1SHS^ 23Z
«-S £E
1 12 ?;5^
S-9-
"3--S^^
2:2
54
*-f
3-S-
S^^^^S
4 5 %\Mi left hand an Octave lower

Example No. 3 Silent Exchange of Fingers on major Triads [Doering]

3 4. 5 5 .4 3
t-1 .3
5
4. 3-
-I 2.

^t >: i>
1

(<i—
1^1
?^
.3

??=^
a
^ ^
.8.

W
2
3
5
_23_
4
?.

^^^
_1. _1

-'1
w
3
1

Example No. 4 Triad arpeggios in Rhythms

I . |t ^ ^
n
H etc. in ei
^.tc-

r^rrJl^^>JJ^J^p^J||J^J J

53
 1 d ©

Example No. 5 Minor Cadences: A, G, B and F- sharp

I III

^
II III

\4^y=
/TN
— /^^ Ov
1

h| —
«
4i^
r.

L^
-^ 8
H =^=^
^^^--r^-h

1 II M ^
— *
:

III
H

sjniiJp
—n
'
—
~

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-»-
s
<<
— ^ <>

II III
/^
i^ /Tv
-o-
=s= r; tt ;
-
^
=8=
ZEE
4

i ^ F
/O^

n\ n\ /7N

-^Hgj [ -*j-

I II \X II lU itmile

J I II II UJ simile

Example No. 6 Melodic minor Scales: G-sharp and H-flat

[Sup. Teeh. n, Nos. 41 and 42]

V ji GS minor 3 34 1 4 3
1 3 .,

s
1 3 2

^^m ^
3 1
N.B. 3 2
3 4 i_ 2 3 2l i 1,
2 L4
1 i i<
W3, ti
1 3 23^ 1 2
3 2 4 1

EI> mi

2 14 3

54
UNIVERSITY INTERMEDIATE
COURSE CHAPTER IX

IX
RHYTHMIC CANTABILE
§1. Cantabile indicates a singing style, a lyric which one or more keys are held down while other
manner of performance. A singing tone requires fingers of the same hand play florid or rhythmic
an even touch, which is undisturbed by the figures. Exercise No. i is given as a preparation
rhythmic pulses, a well-poised arm allowing the for the Study for the fourth and fifth fingers, by
weight to settle at the finger tips, an accurate con- Berens, which follows.
trol of dynamic force, and endurance capable of a
sustained legato. Etude, Berens
§ 2. A passage may be slow, fast, strongly rhythmic § 3. This Etude, for the development of the fourth
or quiet, and yet be of cantabile character. The and fifth fingers, contains a melody for the inner
question is in the manner in which one sustained fingers while an even rhythmic figure in sixteenth
tone is connected to another, in groups of a few notes is given to the outer fingers. The orna-
or many tones. The term cantabile is usually mental melodic figure (in the inner voices) should
Understood and continuous
to indicate a sustained be less prominent than the melodic outline though
passage. The not necessarily con-
singing voice is always legato. Independence of the fingers and an
fined to legato, but may maintain a continuous even, singing tone, are to be sought after, not veloc-
cantabile mood even while executing a staccato. ity. It is rarely necessary to accent the melody
A subdued passage, though rapid, also may main- tone in ornamented melodic outlines of this nature
tain the steady style of the cantabile or song-like because the sustaining of the tones sets them out
interpretation. more prominently than the accompanying figure.
One of the most useful forms of technic for As has been explained a melody in an inner voice
developing the endurance and independence re- is not obscured by the outer voices if it is either

quired in the production of a cantabile, is that in more or less rhythmic than the outer voices. [§ 3]

Exercise No. 1
^;IGHT HAND

Iw ^rj l
^-A^ 'A,3 v
s

I \y KX^ Ji)y l^y % ^y I

^^y^y
^J)^
1-^^ ^^^^
mi
'^.'X i^. '^. , h ^^^'- ^'J''^^^-'^ >

s 1

Vpy.pypy pypyPrpy |pypyp^py Pypy^ypy

i | I II

2 3 2 3

(f) pypypypy pypypyPy|pypypypy IprP-yprpy

5
|

4 3 -2
| ^
4
^ — ^
r
y p~yE
r r
y ^ y I
^
r
y
f
y g
'55
y
P H"f ^ P y p y Tj y
d8i
Romance, Von Weber
§ 4. This theme is adapted from a well-known
opera, "Der Freischutz." It should be played
with a song-like tone-quality, the accompaniment
serving only as a support to the melody. The
playing of a broken chord accompanying figure is
not an easy task; for with any attempt at abandon
the effect becomes trivial. Each tone must receive
careful attention, and where opportunity offers the
outlines of counter-themes contained within the
figure can be brought forward with a gentle pressure
touch. The student should guard against playing
either short or jerky, the sixteenth notes which follow
the dotted eighth notes. These mustbe played at. the
fourth division of the quarter note count, but in a
singing style it is permissible and even necessary
to allow time enough for them to sound broadly,
in the same manner as one might sing them. In
dance rhythms such sixteenth notes are played
less broadly, for here the regularity of rhythm is
one of the chief concerns. In melodies of cantabile
character the lyric element predominates, and an
effective interpretation becomes less dependent
upon metronomic regularity. [§ 4]

ETUDE
Andantino
BERENS

roWro ^^^
4 .'5 4
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56
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5 5 4

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57
 ^

HUNTING SONG
Vivace, ma non troppo CORNELIUS GURLITT

^
2

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58
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F^

3E^^^
^ ^^ FIRST LOSS
4
9_y
5
W ^
R. SCHUMANN
Op.68,NQl6
Non" allegro
*5

59
 THE QUARTET
Moderate maestoso MORTIMER WILSON

*m g:-^ r
i^i*
r
Tjf f
213 ^
iEEf^^ * f f

r m
M=a
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60
 —
ROMANCE
M.von^^^BER

^
C.
Moderato

W ^ i ^
1 4

p cantabile
* _ »
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cliz-gXii I

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dim.
p

^
^ poco rit.
^
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pa tempo I P ^
S £a^ rr IrTrr rtf
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s ^^ i ^ m ^^^
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m a^^^ atz:
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61
?: 'n.
:=
Ii 4
^
 DANCING UNDER THE LINDEN -TREE
CARL REINECKE
Op. 107, N9 10

nn
Andantino

*ffc5

P
5

m 3
m
2
^ 1^ ^3 Z 1 w^.
3>-¥tt
Apply the rules for short slurs.
m^ Wm
^^
i 3 4
3 2 1
fcM :e

^~t!tT 13 2 1 '3 U^^'

lift

ifJ^J^J J^J^i^^^ « »

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^ n —^ —
u
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tt
T' ^jryr r I J
1
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/
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(b 'PV'fm ^i^ f
62
Hunting Song, Gurlitt
§ 5. During the First Subject, the left-hand part
should not be played too heavy. In the Second
Subject, the left-hand part is of equal importance
with the right-hand part because it is a four-part
harmonization.
The Octaves in contrary motion in the middle
of the Second Subject need a slight accent upon
the first of the two notes, with a strong accent on
the second. The two notes must be closely joined
together. If the hand is too small to span the
Octave, the legato may be secured by a momentary
use of the Damper pedal followed by instant
release.
First Loss, Schumann
§ 6. It is said that Schumann wrote the pieces
his Album for Young Pianists, from which
taken First Loss, without any titles in mind,
afterwards choosing a title to fit the character of
the piece. The plaintive character required in this
piece depends upon a cantabile that is rhythmic
without becoming monotonous. To change the
tempo from fast to slow and back again need not
and should not destroy the rhythm. The strong
pulsation at the beginning of the measure, the
medium pulsation at the middle of the measure
and the quicker pulsations which fall between,
produce a sort of design. If the proportions of this
design are maintained the speed may be hastened
and retarded without destroying the rhythm.
From the consideration of time alone every eighth
note is equal to every other eighth note; but in
rhythmic values they may be quite unequal. The
strong pulsations of the measure give to certain
tones a stress which is not always dynamic, but
is very akin to it.
It would not be practical to attempt to indicate
all of the little ritardandos and accelerandos which
should enter into a satisfactory interpretation of
[§ 6] this piece, but so long as the rhythm is preserved
the performer can safely follow his own instincts
as to tempo and dynamic variety.
in.
is The Quartet, Wilson
§ 7. In the tonality of D major, The Quartette
consists oftwo periods, the first of which contains
only three phrases. There are four separate
voices or parts, two to be played by each hand.
While you play the piece, you should imagine the
singing of a quartet of four voices. The chord
tones are not to be "rolled" or arpeggiated, but
must be played as if they were sung absolutely
together. [§ 8]

CUMULATIVE REVIEW AND ELABORATION OF FUNDAMENTAL TECHNIC

First Assignment Second Assignment
Special Technic: Practise the Schumann sus- Special Technic: Practise the velocity exer-
tained note exercise as in Example No. i ; also the cise in expanded hand position, in Triplets, as in
preparatory exercise for Double Thirds, in Ex- Example No. 3; also in Doublets, as in Example
ample No. 2. No. 4.
Arpeggios: Practise the Triad arpeggios of A\? Arpeggios: Practise the triad arpeggios in the
major and G# minor, in the First Inversion, as in Keys of Bb major and B minor m the First Inver-
Example No. 5, the left and right hands separately. sion as in Example No. 5, the left and right hands
Chords: Play the Minor Cadences in C# and separately.
G# minor, as in Example No. 7. Chords: Play the minor Cadences in £> and
Scales: Apply the Melodic minor scale of Bb Bb minor, as in Example No. 7.
minor. Example No. 6, to the 5, 9 and 17-note Scales: Apply the Melodic minor Scale of F
scale model in three speeds (2-vii, Example No. 4). minor. Example No. 6, to the 5, 9 and 17-note
Review: Apply the major Scales in all Keys to scale model in three speeds (2-vii, Example No. 4).
the 5, 9 and 17-note scale model in three speeds. Review: The Melodic minor Scales.

Example No. 1 The Schumann Sustained Note Exercise

5 1 g 3 4 5 I jj 3 4 5 1 2 3 4 5 ^ 5 3^
4 1 5 4 3 2 1 s 4-
f\

6.1 J^I"I^JJ I IJJJ i rfJJ I IJJJ I IJ,

4
51a 3_4_5_1 2 S 4 3 ^ 154 3 ^ " 5 4-

63
 ^^
Example No. 2 Preparatory Exercise for Double Thirds

^3
^ ^ L^^i?
4 5
3 3

Jo J ^g^ ^ sm s ^
^ ^ ^
sif/dle

>
y 4- fl ftTI^ # «^

5 4 3

rjg^ i p"p
^gf
^
pj
I ^ ^

4 5

Example No. 3 Velocity Exercise in Expanded Hand Position [/. Philipp]

LEFT HAND

Example No. 4 Rhythmic Variant

RIGHT HAND

^1 r

4 5 4
yr^F^
12 3
R H H
^g^
rT" ^^
continue
LEFT HAND

etc.
1 5*^ 2 "
^^g
continue etc.

Example No. 5 Seven Model Triad arpeggios, in the First Inversion

[Sup. Tech. II, Nos. 27 to 33]

;^ * 2 1 '; 2

'rirrrfifffi
a"tFJ .3 T^ - 1 g t
$ At major
First InTcrsion
T 4 ri ^ 4 1 4

^^
' 2- ^

n
4

-^ 'r,i Ph^ ii 4 >

f
i ,

* Fjt major
^P
S
First Inversion
4 1 4

^ I

1
4

2 ^^^H
2

"•«*
1

l3

IB
1 2

i?e i^
iif^
il
1
1 4

minor 1
4
*
""^
2 1
4 2 4 1 f
First Inversion
4 1

^ S•~^ :fel=±

4
*- '

4
1 7

al^^l'ni., 2

^
1_ 4

< El? minor

1 4 2 1 4 4-

First Inversion i 4
2 , 4_,

2 1
—
-Tj
a-
4 II

65
 —

Example No. 6 Melodic minor Scales: B-flat and F

[Sup. Tech. 11, Nos. 43 and 44]

Bl> minor

* :^ =^
^m
rTT
^
=i=fS

1
2

1
2

21 -T-n
1 •<

, 1 2 3 ..4
kftl 3 3 1

143 4-e iri-

2 3

F minor

Example No. 7 Minor Cadences: C-sharp. G-sharp, H-flat and B-flat

I

^^
-»H»
^ ^^ =§=
II

13 79- ^
1^
"^^
=§=
III

3; ^<j Li
'
s-
=§:

jCE Tf" -rr-

^^•^''1.^ 1
' t «< Si-
32 «< &- UZ & &
p
['

I IL. _li II II I simile

i///

M
ir ^S
II

a :^
ui

^ K ^ ^
iS" (5>-

v^ \^'\h \ I
-O-
f
IJ il II Simile I
I II : 1

66
 UNIVERSITY INTERMEDIATE
COURSE CHAPTER X

REVIEW AND RECREATION

§ 1. Before attempting to play any of the pieces should select the difficult passages from each piece
.each one should be analyzed by sight and away or etude and arrange them in a form which will
from the piano, as follows: the Key signature; permit a number of repetitions of them, without
measure signature; principal melodic voices; the the effect growing unmusical. -

nature of accompanying voices; divisions of. mo-
tives, quarterperiods and periods; modulations;
tempo and style indications; and nature and length
of form.
§ 2. To establish and studying
the habit of reading
all exercises, etudes, and pieces away from the
piano before actually attempting to play them,
is one of the surest means of gaining proficiency in
sight-reading,- analysis and interpretation, as well
as facility in memorizing. The compositions in
this chapter are intended to bring out the inter-
pretive faculties of the student. Each embodies
a principle that has been treated in previous
chapters.
The student should early acquire the habit of
forming exercises from the material of pieces. A
better performance is assured, and a broader
TTrental conception of the composition as a whole
is gained by the search for technical difficulties
within it. Exercise No. i is composed entirely of
motives taken from the Rondo-Pastorale. It is
not necessary that the student complete an entire
period with material selected for practice, but he
One measure imperfectlv mastered will mar
an otherwise perfect performance. This passage
should have been singled out and made to do
duty as material for a separate exercise. To write
out such exercises is still more helpful. [§JJ
In the Garden, Gurlitt
§ 3. The melody is played by the left hand, and
should be sustained, much like a song. The right-
hand part consists mainly of a chord accompani-
ment in Double notes, to support the melody.
Near the close the right hand, in addition to play-
ing Double notes, also plays the melody in the
upper octave for one phrase, and then continues
with a suggestion of a counter-theme till the close
is reached. [§ ;]
Dancing under the Linden Tree,
_ Reinecke
§ 4. The characteiMS suggestive of an older stvle
of composition of which the famous Minuet b\
Boccherini is a representative type. Besides the
chief features of a flowing melody and a con-

Exercise No. 1 Preparatory Study for " Rondo-Pastorale "

Allegretto

67
 t ' - — 1

ANDANTINO
Semplice

i
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1
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mm
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t'~W irrw •4 1

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f r M r Lr_r_j
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rit.
p ^
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5
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4

RONDO PASTORAL
Allegretto
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69
 4

IN THE GARDEN
CORNELItTS GURLITT
Allegretto Op. 140, No.

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70
 \y

THE FAIR CORNELIUS GURLITT

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Vivace.

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71
beginnings play
p poco

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rail.

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 —

THE CHIMES
FELIX LE COUPPEY

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72
 POOR PETER
NICOLAI vonWlLM
Lento

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73
 THE MERRY FARMER SCHUMANN
Op. G8.N910
Allegro moderato (J = 120)

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'tf
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stantly moving accompaniment there is an obvious half notes instead of quarter notes. Such a bass
lyric quality which possesses a strong appeal. [§ 6] may be called a basso ostinato. A melody of this
kind repeated over and over on a set of chimes
The Chimes, LeCouppey consisting of only three or four bells is called a
§5. The left-hand part, it will be noticed, is the carillon. These are frequent in France. The right
same throughout the piece with two exceptions hand is cleverly varied and a modulation made
(18) (26), until the close where the figure is in to the Key of C to secure variety. [§ 7]

CUMULATIVE REVIEW AND ELABORATION OF FUNDAMENTAL TECHNIC

First Assignment
Special Technic: Review the velocity exercise
In hand contraction, Example No. i; also the
Chromatic Scale without thumbs, as a prepara-
tion for polyphonic playing. Example No. 2.
Arpeggios: Play the model triad arpeggios, in
the First Inversion (2-ix, Example No.
5), in
Keys of C and F'^ major and E\} minor, the left
and right hands separately.
Chords: Play the minor Cadences of F minor
and C minor, as in Example No. 4.
Scales: Practise the Melodic minor Scale of C
minor. Example No 3, as applied to the 5, 9 and
17-note scale model in three speeds.
Review: Continue the review of such unfin-
ished material as has been recorded in the Practice
Book.
Second Assignment
the Special Technic: Practise the Silent Exchange
of fingers on Thirds, one octave up and down,
using all of the different fingerings in Example
No. 5.
Arpeggios: Play the four model major triad
arpeggios of C, B\,,A\} and F# major, and the three
74
model minor triad arpeggios of B, G# and £'? Scales: Practise alternately each major scale
minor, in each of the three positions Root posi-— and its Parallel Melodic minor Scale, starting
tion, First Inversion, Second Inversion hands — from the same Tonic and extending; through
separately. seventeen notes and return.
Chords: Practise the Cadences in G minor and Review: Play the minor Cadences through all
D minor, as in Example No. 4. twelve Keys, in all three positions.

Velocity Exercise in Hand Contraction

Example No. 2 Chromatic Scale Without Thumbs

4 3 4 •5 3 4 3 4 3 4 5 3 4
5 3 4 5 4 5 4 S 3 4 S 4 R

t
g^
, s 3 4 5

^
3 6

m
3 5

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3 4 5
P
8

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5
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5
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Example No. 3 Melodic minor Scale: C

[Sup. Tech. II, No. 45]

'
C minor
o ., o 3 2 13
^ ^S5 3 4
ra ^3*
2 1 1 2

2 1

1 2 .3
^ 311

7.5
 s I

Example No. 4 Minor Cadences: F, C, G and D

HI

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Example No. 5 Silent Exchange of Fingers on Double Thirds

4 S
1 a
R 4
•4
1
R
'

4
il 1
S 4 etc. etc.
3 a.
4 4

^
4 4

^
2

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2
4
1^ 2
4 4
2

2 8
4 5
1 2
4 5
i I
4 5
1
4 76
THE UNIVERSITY COURSE GRADE 2, BOOK 2. STUDENTS' ABRIDGED
OF MUSIC STUDY ''''''''
QUARTERLY EXAMINATION
[If more space is required write answer on separate sheet and identify by question number and letter.]

i. (a) What is a broken chord? (b) What is the difference between a broken chord and
an arpeggio''! (c) What is a solid chord?

2. What is the technical value of the Doering EXERCISE for Silent Exchange of Fingers
on major Triads?

3. (a) What is legato'! (b) How does it differ from staccato'!

4. What is the reason for the finger substitutions in REGRETS by Wilson'!

5. (a) What is meant by the word cantabile? (h) What is rhythmic cantabile? (c) How
can a cantabile style of playing be gained?

6. When you first look at a piece of music you intend to study, what points do you notice?

7. What is the value of this first mental study?

8. (a) What is the meaning of the short line above certain notes in the Andantino?
(p. 68.) (b) What is meant by the term RONDO- PASTORAL as used for a title?
(c) Why is the same bass note used in so many successive measures?

9. (a) How are the chords for the right hand in the piece, In THE GARDEN to be played?
(b) What is the meaning of marcato il canto! (c) of pcrdendosi'!

10. What is there unusual about the bass part in The Chimes, by Le Couppey}

11. (a) What is meant by the term RONDINO, as used for a title to a piece by dementi?

12. (a) What meant by the word TARANTELLA (French, tarentelle), as used for a title
is

to the piece by Loeschhorn! (b) Why is a tarentelle frequently in a minor Key?

[OVER]
13. (a) Why is The Clock played staccato? (b) Should the pedal be used?

14. What is the meaning of the title LITTLE ROMANCE, as used in the piece by Schuinann?

15. What is the purpose of the ETUDE in F major, by Czerny?

16. (a) What "desert" is suggested to your mind in the music entitled In THE DESERT?
(b) What pictures do you get from the music?

17. (a) What is the purpose of the ETUDE in F major, by Berens? (b) Where is the melody?
(c) Which finger plays most of the melody tones?

18. (a) Do you think of The Quartet as played or sung? (b) Why?

19. (a) To which country did Glinka, composer of The Lark, belong? (b) What is
meant by "folk melodies"?

20. (a) What did Charles II, King of England, do to help Church music? (b) Name
the most famous of the musicians of that time.

21. What is the romantic story in which the composer Stradella figured?

22. What was Lully's important service to French music?

23. (a) Tell the story of The Cat's Fugue, (b) What technical device in piano playing did
Scarlatti use in his Sonata in A?

24. (a) What kind of musical compositions helped to develop the art of singing? (b) What
was its influence in later years? (c) Who brought about reforms in opera?

Student Date Examiner Percentage

2-2
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