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NOVELLO, EWER AND CO.'S MUSIC PRIMERS.
EDITED BY SIR JOHN STAINER.
THE ART OF
PIANOFORTE PLAYING
BY
ERNST PAUER
PRINCIPAL PROFESSOR' OF THE PIANOFORTE AT THE ROYAL COLLEGE OF MUSIC, SOUTH KENSINGTON ;
PROFESSOR OF THE PIANOFORTE AT THE GUILDHALL SCHOOL J PIANIST TO THE IMPERIAL AND
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3 J
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LIBRARY
presented to the
Edward Johnson Memorial Library
by
MRS. DOUGLAS HENDERSON
LONDON :
NOVELLO, EWER AND CO.,
PRINTERS.
PREFACE.
IN offering to the public a short Treatise on the Theory and Practice of Pianoforte-Playing, it has
been my endeavour to write in the plainest, the most concise, and the most practical manner. Giving
the result of my long experience as a teacher, I have included in this work those phases of pianoforte-
piaying which, occurring daily, may be considered as forming the basis of a good, solid, and correct
execution. The position of the performer at the instrument the method of producing, by means
of a good, distinct touch, a full and rich, yet delicate and subtle tone the practical manner of studying
and playing the scales the execution of the shake the chords, firm and broken the double passages
part-playing all these are essential constituents of an efficient and artistic performance ; and to
explain these different matters in a clear yet not too elaborate manner, has been my endeavour
throughout. This book is intended for the use of pupil and teacher alike. The pupil may, I think,
learn from it many matters for whose elucidation the teacher finds no time during the lesson ;
while to the teacher the little work may prove useful as a kind of text-book, which he must
supplement and elaborate, according to circumstances, by his own experience.
The chapters on the use of the pedal, on fingering, on practising, on expression, on the necessary
conditions for a good performance, on exercises and studies, on ths order in which the classical sonatas
ought to be learned, on the classification of composers, styles and schools, on reading at sight, etc.,
are intended to supplement the method ; indeed they have been embodied in the work mainly in
view of the fact that, generally from an enforced economy of time, the musical student in England
has "fewer opportunities of obtaining the necessary information about many points of interest than
are offered to his foreign competitor. Although I have relied principally on my own experience as
a teacher, it would be ungrateful not to acknowledge the free use I have made of the excellent
and valuable advice given in the works of Emanuel Bach, Ignaz Moscheles, Frederick Kalkbrenner,
Carl Czerny, L. Plaidy, Louis Kohler, and other distinguished educational composers. I take this
opportunity of stating that further and more detailed explanation of many points, which can merely
be mentioned in the present book, will be found in my primers entitled " Musical Forms " and
" The Elements of the Beautiful in Music."
To my friend, Mr. A. J. Hipkins, I beg to tender my best thanks for his useful and instructive
historical sketch of the pianoforte and its predecessors. In conclusion, I have only to recommend this
little book to the goodwill of the public, to the attention of teachers, and to the careful perusal of the
musical student.
E. PAUER.
London, 390, Onslow Square, S.W., 1877.
CONTENTS.
f AGE
INTRODUCTORY REMARKS ........ i
1. THE POSITION OF THE PERFORMER ........ 9
II. THE POSITION OF THE HAND ........ 9
III. THE TOUCH ........... 10
IV. TECHNICAL EXECUTION ..... ... 15
V. ON PRACTISING ......... .66
VI. FEELING; EXPRESSION ......... 67
VII. THE DIFFERENT SlGNS OF EXPRESSION . . . . . .68
VIII. GRACES AND MANNERS, AS EMPLOYED IN OLDER CLAVECIN Music . . .69
IX. THE NECESSARY CONDITIONS FOR A GOOD PERFORMANCE . , . . . 70
" X. THE ORDINARY FAULTS IN A PERFORMANCE . . . . . -7
XI. ON READING AT SIGHT . . . . . . . . -7
XII. EXERCISES; STUDIES . . . . . . 7 1
XIII. THE ORDER IN WHICH THE SONATAS OF OUR CLASSICAL MASTERS SHOULD BE STUDIED 73
XIV. CLASSIFICATION OF COMPOSERS ; THEIR STYLES AND SCHOOLS . . . 7A
XV. CONCLUDING REMARKS .... 75
APPENDIX. THE PIANOFORTE AND ITS PREDECESSORS . . . . . -77
VOCABULARY OF TECHNICAL TERMS AND EXPRESSIONS CONNECTED WITH THE PIANOFORTE . 79
CHRONOLOGICAL TABLE OF COMPOSERS.
The Rudiments of Music are not given in this work, as the
Student is presumed to have made himself familiar with them before
commencing Pianoforte practice.
(See "Rudiments of Music" Primer : W. H. CUMMINGS.)
INTRODUCTORY REMARKS.
THERE can be no doubt that, taken as a whole, the pianoforte is the most popular and the most generally
useful instrument : it is able adequately to interpret harmony and melody ; and although it cannot boast,
like the violin or violoncello, clarinet or flute, etc., of possessing the faculty of sustaining the sound, the
extraordinary skill and inventive ingenuity of our pianoforte manufacturers have combined to give such
remarkable richness and fulness to the tone of the pianoforte, that the pianists consider they can, without
fear, compete with their rivals on the violin or on any other instrument. The piano may be said
to have acted in the history of music the part of a pioneer and harbinger, and it has popularised the
noble works of our illustrious masters in a much greater degree than any other instrument or even the
orchestra itself could have done. An orchestra for the full interpretation of a great work is not always
available. The piano always proves the welcome friend and substitute ; and if we think of the
innumerable happy hours which have been spent either in solitary enjoyment or in the pleasant
intercourse of the family circle at this instrument, and when we recollect how often it is the
nedium for the interchange of charming and intellectual ideas about art and its aim, we naturally
feel an admiration for, and an attachment to this welcome companion and friend.
The piano has often been depreciated as a cold instrument, but it certainly does not deserve
that reproach. The piano, in the hands of an experienced master, will reveal varied and manifold
beauties ; it will show that it has a soul, a life, a warmth which cannot fail to strike a sympathetic
rhord in the performer, and through him in the hearer also. The pianoforte may be compared to
an amiable ever-ready citizen of the world, who speaks a great many languages, and who accommodates
himself to all possible wants and requirements. By means of the piano, the mysteries of the full
scores which are to the multitude like Sanscrit, the sacred but unknown language were, so to
say, translated into every native dialect : and it was the piano that revealed these numberless
beauties to the general public. A very important use of the piano is manifested in its union with
the voice and with other instruments ; it enhances by the accompaniment the charm, the charactei
INTRODUCTORY REMARKS (Continued).
and the clearness of a song; it entwines itself, so to say, in graceful figures and passages with
the violin and violoncello in a trio ; it supplements, it enriches, it cements the whole. The very
nature of the piano tends towards velocity and brilliancy, and not so much towards a singing or
sustaining quality, although the inability of the piano to render singing passages effectively is now.
thanks to the ingenuity of our ever-progressing pianoforte-makers, far less prominent than twenty
or thirty years ago. Last, not least, we must remark that the idea of a musical work of art, its
design, and its proportions, are much more clearly understood through the piano than interpreted by
any other instrument.
With these few introductory words we will at once proceed to the consideration of the
subject before us the principles and practice of the study of the pianoforte.
THE ART OF PIANOFORTE-PLAYING.
I THE POSITION OF THE PERFORMER.
THE proper position for the performer is to take a seat before the middle of the key-board on a
piano of seven octaves ; this will be from (ff) | ~* \\ and at such a distance from it, that the arms car.
<J jt to
conveniently reach the farthest keys of the instrument, and can also be crossed, and move with entire
freedom in both directions. The music-stool should be firm and secure, and so high that the elbows may
be a little above the level of the key-board. Both feet ought to be placed on the pedals the right foot on
the loud, the left foot on the soft pedal. It is essential that the performer should see at once that the seat
is convenient and firm, thus avoiding a future shifting or moving about, which produces unevenness in the
performance, and a corresponding uneasiness in the listener. A good position at the piano is as important
as a good way of sitting at the desk for writing. The movements of the arms ought to be graceful and
easy ; the trick of spreading out the arms in such a way that each elbow protrudes like the apex of a triangle
is very ugly and objectionable. All contortions of the face, any tendency towards grimacing, raising the
eyebrows, frowning, shaking the head, or any other tricks, should be carefully avoided : the same thing maj
be said of the habit of swaying the body to and fro, either from side to side, or backwards and forwards
or shrugging the shoulders. A natural, unaffected, and graceful appearance, united with the correct expression
and intelligent performance of a good piece of music will greatly aid the effect produced.
II THE POSITION OF THE HAND.
The following drawing explains the position necessary for a good, quick, and correct performance :
The wrist must neither be perceptibly raised nor lowered ; it should be kept, without constraint, at a level
with the hand and arm.
The knuckles must neither be raised so as to form a hollow in the hand nor bent inwards, but must be
kept in a natural position, on a level with the back of the hand.
The forepart of the fingers -must be gently rounded, not, however, so much so that the nails, which
should be kept moderately short, touch the keys. The hammer of the piano acts with more readiness and
certainty when pressed with the tip of the finger than with the flat lower surface.
The third and fourth fingers, however, should not appear to be quite so much rounded as the others,
but should be a very little more extended, thus :
Let the thumb be stretched horizontally so that the forepart shall be upon a level with the key, and
the key itself struck by its outer surface. The thumb must never be permitted to hang down or to rest
upon the key-board.
The centre of gravity of the hand in playing should fall towards the thumb.
The position of the hand generally ought to be perfectly easy and natural, otherwise no good style of
playing can be attained.
II1.-THE TOUCH.
The smooth connection of the successive tones is the main point to be considered with regard to
touch ; to achieve this is very difficult, and requires continual attention and supervision.
The touch is to be divided into two kinds, the legato touch and the staccato touch.
But we may also speak of a legatissimo touch, which requires even more care and attention than
the legato touch ; and finally of the portamento touch, which is in fact a compromise between the staccato and
legato touch.
THE LEGATO TOUCH.
The piano is an instrument of percussion, and does not allow the performer to sustain the sound indefinitely
as the wind and stringed instruments will do. Its very nature tends more towards brilliancy and velocity of
execution than that of any other instrument ; therefore the legato touch, by which the effect of sustained notes
is produced, is one of the most important points of pianoforte playing. It is the most important of all, because
the effect of the greater part of pianoforte music depends upon it, and it is the one universally to be employed,
except where another is especially marked. It is the one to be used in all technical or finger exercises with the
hand at rest. The following rules must be observed:
Hold the hand in this manner:
The fingers must be only moved from the knuckles ; the same rounded position is to be retained
throughout.
( II )
The thumb must be moved by the joint which connects it with the hand, and must never create any
motion in the hand itself.
The unoccupied fingers must be kept at an equal distance from the keys (about one fourth of an inch)
and not be allowed to sink down before the moment of striking the notes.
In striking a note the finger must touch the key exactly in the middle.
Each finger, after striking the key, must be lifted from it quickly, and at the very instant when the next
finger strikes its key, so that the successive tones may neither run into each other, nor be separated by a
perceptible gap.
No movement should be permitted to the hand other than that which necessarily arises from the
moving of the fingers in striking the notes.
The intensity of the sound produced from the piano is in proportion to the force with which the finger
strikes the key. The further the fingers are from the keys the greater the power of the levers, consequently the
more intense the sound emitted ; the more subdued the tone is to be, the more moderate must be the motion as
well as the pressure of the fingers.
In passages that are to be rapidly executed, the fingers, of course, cannot be raised to so great a height
as in slower passages.
If in rapid passages, however, great force is required, such force can still be readily obtained, when the
strength of the fingers has been developed to the utmost ; for, generally speaking, rapid passages may be regarded
as a test of a performer's proper cultivation.
The following are the most important exercises for learning to raise the different fingers in the mannei
just described. The notes of the semibreves are to be put down without being sounded, and held firmly thus all
the time, each exercise being played perhaps eight or twelve times consecutively. The hand and fingers must be
kept in an equally good position throughout ; the former even, and without raising the knuckles, and with the
fingers bent ; and while striking the keys, the fingers should be neither pointed nor pressed flat :
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THE STACCATO TOUCH.
This touch is executed with the aid of the wrist.
The hand must be slightly raised from the wrist before striking, and then, with an easy movement,
thrown, as it were, upon the key-board. So soon as it has struck, it must be raised again to its former position.
The arm must have nothing to do with this movement ; and the raising of the hand must by no means be
effected by lifting the forearm. In scales or other running passages the arm, of course, moves along with the hand.
Great care should, however, be constantly taken that the arm be not stiffened, nor the movement of the
hand too violent, otherwise the performance may present a very ludicrous appearance.
In rapid and in soft passages there is less movement of the wrist than in the medium ones, or in those
where force is required.
In the former cases, the staccato may often be produced by merely drawing back the fingers quickly, after
striking, and without any marked movement of the wrist.
The following exercises are recommended for acquiring the staccato touch :
1. 2.
2 2 2 * 22
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( 14 )
The Exercises i, 2, 3, 4 ought to be played also in octaves. The study of these exercises is at first
fatiguing; the student must not therefore practise them long together, but at frequent intervals, until he has
acquired strength and steadiness.
(First time of studying, M. M. J=92, but gradually increasing the speed to J= 126.)
THE LEGATISSIMO TOUCH.
The legatissimo touch consists in this, that a key, after being stiuck, is not raised again at the striking of
the next one. By this device, which can only be employed in tones which belong to the same harmony, these tones
are made to run into each other, as it were, and a greater fulness of sound is produced.
As this mode of touch is to be employed with great care in the execution of a piece, we advise the student
who has not yet perfectly mastered the legato touch, to abstain from the use of the legatissimo ; this mode
of suffering the fingers to remain upon the keys is directly opposed to that of raising them, required in the legato
touch, and renders the study of the latter much more difficult. A few examples are here given :
_ _ __ L. VAN BEETHOVEN.
I.
SEE. BACH.
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THE PORTAMENTO TOUCH.
The portamento touch may be defined as a compromise between the legato and the staccato ; it is used
when notes are marked with dots, and a smr is placed over them.
The notes must be held nearly their full time.
They are to be played by a pressure of the fingers corresponding with the strength required for the
bringing out of the tone, and by slightly raising the forearm. The following examples show the same passage
played firstly staccato, secondly legato, thirdly legatissimo, and fourthly portamento :
i. Staccato. 2. Legato.
-^
T -> t f, -:
*F*^
EE
3. Legatissimo.
*
4. Portamento.
-*r*^
40,. Execution of Portamento, fin slow iimc.)
46. (In quicker time.}
-n =.- ,..
| jkrrt'rt-z*^^
( 15)
IV.-TECHNICAL EXECUTION.
The material that comprises technical execution on the piano consists of: i, Scales; 2, Shakes;
3, Chords, divided into (a) Firm chords and (b) Broken chords ; 4, Tremolo passages ; 5, Double notes thirds,
connected fourths and sixths ; 6, Octaves.
As scales form the actual basis of a good, correct, even and pleasing execution, no amount of pains and
trouble ought to be spared to ensure thorough efficiency and fluency in the performance of them. The difficulty of
playing scales is found in two points : the acquisition of an absolute evenness of strength in all the five fingers,
and the faculty of passing the thumb under the hand in so quiet and gentle a manner that no jerking or breaking of
the even flow of the scale is perceptible. Bach truly remarks : " a scale ought to resemble a string of pearls i
which all the pearls are of equal size and each touches the next without adhering to it." The study of scales is
frequently begun without a proper preparation. The preliminary exercises that ought to be completely mastered
before the actual scale-practice is taken in hand consist of
(a) Exercises for the thumb ; and
(b) Exercises for making all five fingers thoroughly independent of each other.
For the strengthening and rendering the thumb movable, supple, and pliable, the following exercises are
highly, recommended :
The semibreves are to bt held down firmly.
-r x x-x x-
X32rXT23X X X X
All these exercises are to be played in slow time, and care must be taken that the thumb may strike with
equal force even the most inconvenient notes.
When a certain facility and readiness in moving the thumb has been acquired, the following exercises may
be studied :
x r x 7 x 2 x 2 x a
;x7x r x * x rxax xi x i ixzxtx
xsxrx 72 x * x s x
After the learner has gone through these exercises steadily and with earnest attention, it will be good for
him to bestow great care on the task of rendering the five fingers of each hand fluent or, we may say, liquid.
At the same time great care must be taken to employ the thumb liberally and frequently on the black keys. The
following exercises will be found useful for this preliminary part of scale-study:
ppgFaenr^gg'^
3=*
^i '* - * "^gTT"*
pi | ^ i j pip r |-P ^
( x8)
~-iH^^*^'^^*>~ -J.* y -J-** Tgr <r n Jf-^frr^ ^ "^f.+r*?***-*
^g^^^?t>^-jsj^^^^g^a^^g
, , i i | - , i i ,i^nr~ng 1 1 i M ^r^
fnKig^^
H " ii I 14 "" Li M " ^ 1_ I SSS h M
EXERCISES FOR THE USE OF THE THUMB AND FOURTH FINGER ON
THE BLACK KEYS.
x n * ' i
X 1 1 3 4
r * r ? :ii;-bv r TT f
i r i m t b-^__
It is highly recommendable to transpose these exercises into the other keys, and to practise them with
equal zeal and attention. After having thus prepared the ground for scale-playing, the scales may now be begun
from the very first : the scale-practice ought to extend over four or five octaves. It is a decided mistake to play the
scales only within one or two octaves, and to stop on, or give an accent to, the tonic or principal note. An
extension of the compass in scale-practice is very necessary for the acquisition of an even and easy movement of
the arms and body. Although the scales are generally played in the order beginning with C major, and proceeding
from the key of one sharp or flat to that of six sharps or flats, we should recommend, for the sake of becoming
thoroughly acquainted with the mode of fingering, the following order.
Taking the right hand, we find one scale only in which the thumb comes on the fifth note, namely :
1
F major. ^3
\
^J-IJJ-
( 20)
In seven scales the thumb comes on the fourth note, namely:
C major. D maior. . .
~
E major.
-
2 X
X 2
^J r
X 2
G major.
A major.
* n flx x _-?-?**
B major.
x
F sharp or G flat major.
x i 2
t 2 a x
-bL.L
=
Two scales place the thumb on the third note, namely :-
. X I
rfrrrrr, jg
I I I I I I I i
A flat major
x
D flat major.
rH -p
1 i i i 1 i i II I I I ;! ~
In two scales we find the thumb on the second note, namely, in the scale of
B flat major. E flat major.
cJ I -^J - J L J I tJ ' x
x -=
In the
C major.
^^
left hand we find that the thumb is employed in six scales on the fifth note, namely, in the scales of
G major. T) mainr.
^ 4 X 2 X
D major.
A major.
^ X 2
s^z f7 r Tf
rrTT ^
E major. x s--*-- x F major. xi-->^x
Four scales place the thumb on the third note, namely :
B flat major.
2 r x a
E flat major.
- ' >-. J p
2 X
A flat major. D flat or C sharp major.
2 x a 2_ x x 2 f x a m --
D flat or C sharp major. * x
-c ' ' x i*r f"TT"f .
^ -*rf-g
Again, the scales of
B major,
,..~JV.. yj 11 A ^ ^11 A
* I I II I I i I I I ! I I I I ? i> f ^
employ the thumb on the fourth note.
G flat or F sharp major.
X 2 X
The fingering for the scales in minor keys remains the same, with the exception of the scale in F sharp
minor, which, for the right hand, takes the following fingering :
Therefore the thumb is on the third note. And in the left hand we find an alteration in the fingering in the scales of
B flat minor,
7 X
and E fiat minor,
/ x
tvhich place the thumb in the minor mode on the second note.
It is very advisable to practise the scales according to this classification ; a great deal of doubt about the
way of fingering will thus be avoided.
In executing the scales, the chief difficulty is found in passing the thumb under the fingers and the second
and third fingers over the thumb.
Somewhat to lessen this difficulty, the scholar should bend the hand a little inwards, thoi gh not in too
great a degree. By this position, the thumb of the right hand, in ascending the scale, and the second and third
finger in descending, will have to reach a shorter distance, and the execution becomes more easy. The same is
the case in the left hand, with the thumb in descending and the fingers in ascending.
To render this position of the hand more easy, the arm should be kept a short distance from the body,
and must be moved along with the hand ; at the same time it should be kept perfectly steady ; there must be no
twisting or turning.
When the thumb is to pass under the fingers, as each finger touches its note the thumb should be directly
under it, so that it may reach its own key exactly at the right moment. By attending to this method all twisting
and turning of the hand can be avoided.
The student must pay especial attention to the thumb in practising the scales, and must take care that it
passes under the fingers in the manner just described ; and this strict attention should be kept up until perfect
facility and fluency are attained.
Many players allow the first finger of the right hand in ascending the scale, and the first of the left in
descending, to linger upon its key. Great care must be taken to avoid this fault.
As the passing under of the thumb is more difficult to execute than the passing over of the second and
third fingers, the ascending scale must be practised more frequently with the right hand, and the descending with
the left ; and let each be practised separately at first.
When both hands are taken together, the student should practise the scales of C, G, D, A and E major
first, especially moving the hands from each other. Greater equality in the two hands is obtained in this way,
because the corresponding fingers are passed under and over at the same moment.
Playing the scales in parallel motion presents some difficulty at first, because this correspondence does not
take place. When a wrong key is struck, or a fault in fingering is made, the student must begin the scale again,
instead of correcting the error where it occurs. In this way only can certainty and accuracy of execution be
attained.
So soon as the student can play the scales in contrary motion and in parallel motion, in octaves, with
perfect certainty, he should practise them in tenths, thirds and sixths.
When he has acquired a firm, even touch, he should practise them with different effects of light and shade,
particularly with a crescendo in ascending, and a decrescendo in descending. This prepares the way for a rule which
is almost universally required in musical expression. In crescendo playing the too common habit of hurrying must
be carefully guarded against.
The beauty of scale-playing consists in its equality, roundness and uninterrupted continuity ; there ought
not to be the smallest indistinctness ; there should be neither hurrying nor hesitation ; no note more prominent
than the others, except where the composer has indicated such an intention. There is a peculiar charrc
in that swift and even process of gliding over the key-board, more particularly if the performer has a graceful
movement of the hand and a quiet, firm, yet natural and easy position at the piano. Many hours of diligent and
attentive practice are necessary to overcome these difficulties, but the student may be certain that in good scale-
playing will be found the true and real foundation for an even, satisfactory, and musician-like performance.
THE MAJOR SCALES.
C major.
In octaves.
In tenths.
In sixths.
G major.
In octaves.
T ffrr-Q
9 k^L r r u s> - 11
In sixths.
D major, f
In octavesX
In tenths.
In sixths.
A major.
In octaves. ,
In tenths.
srtn^sSgl ia^g^
; * r r ' m * *-f-4=J gr 5 ^--
dEHEi^lz ^BS^*^
B^^T^ '
In sixths.
^-^- g - ;: ^^g"*- *^e^|
I -4 ;
E major.
In octaves.
In tenths.
In sixths.^
R major.
In octaves.
In tenths.^
^ -^ 1 v ^9*^<_-
In sixths.
Ff major
(Gt> major).
In octaves.
In tenths.
Di? major
(Ct'major).
In octaves.
In tenths.
* *-s l^asS II II
In sixths.
?ir - ; p r ==^ g
( 26
Al? major.
In octaves.
In tenths.
In sixths. -
major.
In octaves. -<
In tenths.
In sixths.
( 2 7 )
B> major.
In octaves.-;
gjjnr- x -,-x_ *^
In tenths.-;
In sixths.
In sixths.
In order to play the scales in thirds, refer to those in tenths, and begin either an octave lower with the
right hand or an octave higher with the left, retaining the same fingering. All the scales may be played over three
and four octaves, and with both hands an octave farther apart ; also with a contrary motion, which is executed by
beginning with both hands in the middle of the key-board on one and the same key, the right hand then playing
upwards, the left downwards, and so back again.
( 28 )
THE MINOR SCALES.
A minor.
E minor.
B minor.
2 1 X I
Ffl minor.
Cfl minor.
G2 minor
(Ai> minor).
Eb minor r
(DJt minor). V
minor.
F minor.
x x
C minor.
G minor.
D minor.
x X ~ '-*^
In order to play the minor scales also in tenths and sixths, the commencement of every major scale of
similar title is to be observed. To play them in thirds, it is only necessary, as before in the major scales, to refer
to the tenths, which have to be begun either an octave lower with the right hand, or an octave higher with the left.
They are, like the tenths and sixths, to be played two octaves apart, and to be practised finally wth the contrary
motion also, beginning with both hands in the centre of the key-board on the same note.
Besides the way marked above, by which the sixth and seventh notes are raised in ascending, and
lowered in descending, there is another method of forming the scale, by raising the seventh note alone, but leaving
the sixth unchanged, ascending as well as deecending, according to the signature, whereby the augmented second,
characteristic of the minor key, arises.
THE MINOR SCALES WITH MINOR SIXTHS AND MAJOR SEVENTHS
SAME ASCENDING AND DESCENDING.
AUGMENTED SECOND BETWEEN Ft| AND Gf.
A minor.
E minor.
AUGMENTED SECOND BETWEEN Ct] AND Dj.
~ -
B minor.
AUGMENTED SECOND BETWEEN G{] AND Aj.
ct
minor.
AUGMENTED SECOND BETWEEN Djj AND Ej.
AUGMENTED SECOND BETWEEN Ah AND BJ
j i i
CjJ minor.
AUGMENTED SECOND BETWEEN E] AND Fx, OR Fp AND Gjj.
or
A!> minor.
DJJminor, |
or
minor."
AUGMENTED SECOND BETWEEN B[j AND Cx, OR Cb AND Dfa.
AUGMENTED SECOND BETWEEN Gp AND AJ3, OR Ft AND Gx.
Bl? minor,
- or
minor.
AUGMENTED SECOND BETWEEN Db AND Ejj.
F minor.
C minor.
AUGMENTED SECOND BETWEEN Ab AND BJ;j.
(32 )
AUGMENTED SECOND BETWEEN Eb AND Ff.
G minor.
AUGMENTED SECOND BETWEEN B$ AND Cf.
D minor.
CHROMATIC SCALES.
The fingering marked A, called the French, is the most useful ; and is especially to be employed when a
firm and vigorous tone is required.
That marked B, called the English, is more suitable for passages that are to be played lightly and
rapidly.
That marked c, the German or mixed method, is the least used.
We recommend the first for special study; advanced players may devote some time also to the second.
72X7 27X2
.. x, 2X ?5 Jxr * x x! !x II ll ! iJLJ JJ-Jhj
2X 2X 2X 7 X7 2X _-*S^F*r- ^ p^~+
!!
rx * 7x ,x r
^rr-^r,.', ij g i ng g * *i x i_j*i
^
.X72X7XTX72X7 X72X7X7X72XJ 27X27X7X7X27 X 7X27X7X7X21
*-X7, 2X72 4X7 2X7 X72X7PSX72X7 27X27X327X27 X7X27XS22X27
-S L2X^ 2X7 2X2X7 2X2X2X72X2 *2X27X2X2X27 X2X27X2X . ^
wf^F 'rrftfrz-x-- L I ii i i TTT i -r. I, M MI- -^^-*^^-
To acquire the gradual swell of the chromatic scale, we cannot do better than to imitate on the piano the
soughing of the wind. The beauty of the chromatic scale lies, even more than that of the diatonic scale, in the
gliding succession of notes ; in the perfect connection of each link (or note) with the next : it should be impossible
to detect any break or jerk. For this reason it may be recommended that the student play crescendo whilst pro-
ceeding upwards, and decrescendo in going downwards. The most useful manner to practise chromatic scales,
however, is the one indicated above.
MAJOR AND MINOR SCALES IN THIRDS AND SIXTHS.
These must be practised exceedingly slowly, and with never-ceasing attention : the importance of the
utmost pliability in the movement of both hands should ever be kept in view.
(33)
MAJOR SCALES.
The fingering here given for the scales of thirds and sixths is that which is most convenient for the
execution of these scales in an even and well-connected manner, when the player has perfectly overcome the
difficulty of using the thumb with freedom on the black keys. (Compare with this mode of fingering the method
advocated in the Supplement to Carl Tausig's selection from dementi's " Gradus ad Parnassum.")
C major.
In thirds. <
iegyrimi
^ CO P3J^*W-4J-33Si.^Lr
rrcf 1 *^ 5 ^ ^**i- rr^H
I I *S -S-*\ 2 3 1 a 2 3 2 X~ 3 1 3 S
In sixths.
* The fingering of the scales of fourths (R. H.) is almost the same as that of the scales of sixths ; for instance :
( 34)
D major.
In thirds.
In sixths.
A major, f
In thirdsX
In sixths.
E major.
"^ "*"
-- - i
, n T^V * - ^ i-^*-^ ^ ^ i
I ,W ^ ^7X7 9 -*-^ h X X ^ &4fcfc
~ X 434 X r -J 2 3 r X ^^
X 4 * 34 X T 4 3 7 X*
7X32 V *X 723 S27X 23X7
23732
34 X X X X43
34X7 m -O-*--- m 1 X 4 3
4 2 X f ^tefttftf-i-it X 2 4
' ^Jl ^jg^ttH- T^- J-^-g-* 1 *^ 7 X-3-2-3 X- 7 ^*-g-g g 1^-* *^^fe 1 H
(^ ^-- m mZ9 *" X-2-3 2 2-3-2-X-**-* i- 7 _j(_"fcl U U
LI X 2 rT-*-*-* X 72 4 4 2 7 X '-^ 3 4X7 X
X 3 2 4 ^ *X 723 327X 23 2
In sixths.
n ' ^--g FT -_^
i^fffgggs
JC - I E iV*-*--
^^ :^5a^_^gJE=
i x-^v 5 jT^^r
Fjf major, fijgfe
31 13X3! 321
2 7 X 2 3 X 7 7X32 r^X 7 I
f^^g f 2 l4&3:*.*i &* fjj f
^-^ | | , *-
/i^Ji ' x f
x 2
1^ 7 X 4 fj -*-* X 7 2 4 427
^^1 232 ^ X 2 3 i
1X3 23
-34
4X7 4
I 'g^g JJH * F L * L " f F'^ J ^E^IrS-lf "=
^^^ag^m^^^^^P^
t^Jrfi5*^" ^^^ ^-^-^j-*^*- -
^JJ^^^^St^Q^qg^^'e^i^^J,^ ^
i^^rr-uv^r^^B^*33j^<gf -r *tt&Fm=s=
*^&f^F&rtfyy2tt3ttF- ^T fr-^v" IF
&^x ^TTS i s 2 rTs i T-f*2 iiTx tasLj
?T5 2 i s * * **$5 43 i Jxj x
34 343
S > I
-ta" E^x ffT* 3^^3333 ^^ kCEr ?
^SP^X. ^X. 734 X 4 3 4 X ~ *-*- 4 3 7 X ^^
fTT 2 i 3 < a 4 $ s 4 a UTS x
34 343
327
327X_ 232 23
4 2 7 x - ^fi * x <43 X/24
2 3 X^5-* ^^SS * 1X32
?^-iai ^Sasi 4
7X32 23X7 *-*-* X 7 X
" ' 2 3 ^ 3 '
Db major. T
In thirds.^
In sixths.
^Up^a^g^fa^^^J^^^^^^il^^
S^fcfc^^^LXOT^^^^g^gTe^>^!!!gaE^^
SisBs^^fTT^ -J^T , 5 I 5 Tf*i iix*, ea^j
^^X 7X43 *X734 437X 34 X 7^*> 4
7X24 X24 42 34XX
3 2 j
7 X *-- 2 T X 1
3 2 7.T 323
In sixths."
L 4 *7 m m^' A7^U 27X7 32 7 X ^-^F- Jf 7 A 7 A
(!)
4 3 4 X xlji 3 t X * ilii- t -* X f *ill * *
jy^fr-ajB J^ &IS~ ^--^L-^S^ *^SEjj*M=pi
J j j * * ^^*^ '" m -m-* H --t-
g*^- **?. -
1 P-S i^gjg V K I i -+ J J--> * 4 J -J-H -^Vite U.I iP " ^ D
\-J^P " X 7 f J --^-O- m T X 4 X 7 *-S-J- X 7 ^^Sl^j
U*" 7 X 7 34 l -4?*7 X 43 3 4 X 7* 34X7 "J^ 4
XX434 XX4S 34X 34X7 X^X
^32 32 2 3423
3
23 32723 232
9. 9 XT .;,'-_ y T 9 4 VJV.9
? major.
In thirds.--
T
MM 1^
In sixths.
Stf^r xTT^
THE MINOR SCALES.
4 2 4
A minor.
In thirds
-? a
724 X 7 X 7 ^^^&( 7 X
2323 X T^ S S 7 X
2 3 2 X 32
4 2
424
4 3 7 X r 3 4 3243
4 S I X +*-m X >34 X.X7X 434
i ' fe?-^ i x
*-*-. r^^^Si ^ x
A. ^~^^~"r" r~ -^ -~ -^ i ^ ^
^ r f Ljjj^rrr P_ ^d^J* jjfe
3 ^rrg^^^--- ^-r = ^-.
In sixths.
( 38 )
B minor
In thirds.-<
^>
2 3 X S 3
34X101X48
4 2 4r _ . ri
I U|4 _ Ji aj-^gi '^ ^*" M ' r <^m * J frV^ W i T^ -U U
i. **J S^Tg^S*-- ^ ^- Jj^aSJt^-Ji
(
V ^^ f * *-t -5* *-*H tnJ^ V?" !*** * J i i^^i t ^-1*--^ [ .p^~fl * U
** b* iPfip t :taJ ^ a^-: 1 ^ ^ ^ > --^^-^i-rad ^Sdc^: t "^ * f^r-< ^ r u
rzi&^rr$$ \*j ~*"f*~**$?& T*x^55 ktj*-r- IP-
^^^X. ^C 734 X 4 a 4 X**? *^ 4 3 7 X ^^fe
' X 2734 3 34XX 437 A "^ X
X734 23 42X7 3
2 323 323 *
*- _0_* 4 I f Jl * 3 S X 1-i-lS 1 3 2 _^LJ 4 3 2 3
FJJ mmor. / f^^p= *sffti*&a&&p0tta !>-: ^^~ g ^: x -'~n n
i d> * ||:-^^g i ^{=g^^ ' TTr^^^-t^j^^^P^
In thirds.-/ Z^fS^ x
/ (^-s-i* kt-S *- -^ g^g J? ^^ I i i i ^^ s%p-fcai <>^^ ^4i s~ n
2
34X43
3 4 X _7 .7 X 4
4 X 7 ^2*^ 7X4 3 4343
7 - -*-^=f ^"r~+-m ' X 2 4 3 7.X 7 X
. ^ p r -f [^ F -i^ - f~0~ ^x r x &^^^ 2
' r I -^ F-i * mttf-t P- f-*m i^l^fe n X n
^ -F i I * i .* m LJ 1<-~ M i i^l II 1
^^^^^ r ~tr^j^=^"
^fefcsJ 9 -+~9-
^^^^^^ ^^^^ ^"f^&P'm
-m&^- m x- 7 x-'s^^-^i x ^i r^i-- , U p
* 7 X 24 2 X" 7 **- 3 7 X X ^^^' I
X43 34X7 4237 X "
3 34 437X 7
43 4
323
42 7 X 724
In sixths
C# minor, f
In thirds,
c!)
^^* ^^ ^SSjjg^ F f f~" ^ H
7X43 tyX72 ^ . 4 2 7 X 34 XT*"*
32 ^72S27X7 32 23X1 X
3 4323 23
)
4 3 7
237X 424 32
- 2 . x X ^*I^A 3 7 X 7 3 4 X X 4 3
In sixths
39
G)
2
23X32
3 4 X 7 ^ 7 X 4 3
minor.
In thirds.-
1 ^ i *
**-***
32 S 2
7 X J X 4
- 232
rJ-X-3 -
In sixths.^
Eb minor.
In thirds.
In sixths.
minor.
In thirds.
In sixths
S^^^^S^^^S
i ^r-; f '> r*n ; ^r g s^g ^- ' '^^*^~-s..' -^-""a-HI ^ ~R
i i ' 1 1 ' i I p S * B * i ' o 1 ktri F " a
"' 7 X J --3-*- ^2 72 72 *- 5- 3X72 BS^ X
1X43 34X7
7x32 2 x
32 2
424
431X104
4 3 7 X Y ^ y^ X I 3 4
3 7 X ^ 0*P t *r-m- m > 1 3 2
X ^ F I 4 -H ^--r~l*~ X X 4 3
_
X 4 X
1X43 34X7
32
3 23
32723 X7
X 3 2 2 3 X 27 X^7 2
2 2 3234
3 4
,11-^ 34X4 3 434
I B^ u
p-=r^^
' 2-3 ! 1- ^
3 tj^i- 1 ^
Xgf^
F minor.
In thirds. <
a 2 7 LX ^a^-Su^^U* 123
4 2 7 x & SS*-r-S*-SS*- x ; 2 4
2 a 2 x *a"^*~^3 Z^*4ti. x 2 f 2
r ; " r^S SP^^~ ^^ basil
^
X7 'a4xJ'Jx4a
4 a 4 x ^- a 4 x ^S *- 7x4 a 4*4
4 a 7 X 7^,^g X 7 f0-P-^-\^~--i+-m ' X 4 a 7^X 7
In sixths.
734
4
a 4 x f I 4 ,
4 2 i 7 2 . ^Tr^ 2,72
G minor. f
In thirds.
In sixths.
In sixths. J
(!)
f ~ X 24 42X7 4 S 4 2 X 7
SCALES IN OCTAVES.
Fingering for connected octaves, when they are to be played slowly :
4 X"N ^^
^
j
3
4
X
J
X
4
X
3
X
4 3
X X
f 3 4
K X X
3
X
4
X
3
X
X
4
X
n ^1 *l
r-p H 3
N j j ,
-
,
-
4*
!r^
-,
-;
& 1 -i
J * * ^ J J
T \ 1 :
f-*
-
-*
-J
?--,
-^
~^
S J- '
**.
* J j.
^d
-*
-i
J 1 J J H 4 -1 - - J
1 1 1 r
aj-J-J
i+.
> ! H
^H~J~j ] " J J ^
^ J J :
>-
i-^
-*
|
1
*~*~i
~p
-
X
4 34
\^
* X *
-J- * 5 43 X X *
XX ^^ 43 43
34 34 ^ ^-x
N^ S_^
J--J J^
-t
:
X
s S
^
4
X
A
1
JT
* S 5
X
3
-t
i
1
^
X
3
1
4
-
When octave passages are to be executed rapidly, the player must connect them as smoothly as possible,
by a skilful gliding of the thumb and fingers, and by using the second and third fingers on the black' keys, as well as
by passing the second and third fingers over the fourth (right hand ascending, left hand descending) and the fourth
finger under the third and second (right hand descending, left hand ascending).
* * M J=" M \\-B-*
X 4 3 X X *
^ ' i ^ ^ t -
^J< X)?^^8i S 4 X X ~*
X4J4XX ** X
CHROMATIC SCALES IN THIRDS, FOURTHS, FIFTHS, SIXTHS AND OCTAVES
Chromatic Thirds. (Chord of the Diminished Seventh.)
(Compare with this fingering Chopin's Study, Op. 25, No. 6.)
Chromatic Fourths. (Chord of the Sixth.)
/4\ 3 4
(4\ \X.) 2 t
(..) 3
4 2.1
* * J?
Chromatic Fifths and Fourths. (Chord of the Diminished Seventh.)
Chromatic Sixths.
I 43 )
-- ^ D^ X X , 7 3 4 ^^^^
-*- -a- *>* -4- L' - x >
CT L. mt- 1
5 x i x /-*- &
a ' 3 i x I x
J ,' A 9
Chromatic Octaves.
THE SHAKE.
We have said that the practice of the scal gives smoothness and an agreeable tranquillity and steadiness
to the execution and thus produces a feeling of satisfaction in the hearer. In like manner we may affirm that the
shake, more than any other device in the technical material of pianoforte-playing, gives lustre, brilliancy, and elegance.
A good shake is really one of the brightest ornaments produced by executive skill. Anyone who is desirous to hear
a good example of the shake may readily do so by listening attentively to the thrilling notes of a canary-bird ; the
warbling, the brilliancy, and the freedom of execution of this natural musician may well give us a lesson how to
perform a good shake. The shake is nothing more than a tremulous or vibratory movement. Strange to say, many
players who are able to execute a good, rich, and distinct tremolando movement do not excel in the shake itself; and
their failure arises from the simple reason that they do not allow sufficient freedom and play to the muscles, when
performing the shake. It is not sufficient to produce the shake from the fingers only; the whole hand must move in
a thoroughly easy and supple manner/row the wrist, and thus the wrist and hand assist the fingers to move rapidly
and easily. The evenness of a 'shake is of far greater importance than its actual rapidity ; but it is evident that
when both qualities evenness and rapidity can be united, the result will prove thoroughly satisfactory The
following manner is advisable for practising the shake with both hands:
(44)
rfrrrrrr^rrnrrrrrfrrfrrff
fy*p^ff#
This exercise ought to be practised in a similar m inner on all the different keys, using the thumb on the
black keys.
( 45 )
The sign which indicates the shake is tr. If the shake is to be continued, the modern composers add
the sign or tr. .^^.^ , extending over the line as far as the shake is to be continued. An example from
J. B. Cramer will best explain the sign and its execution :
;
J
^ gzr
To be played thus:
Lento. I
When a shake is very long, and the fingers tire, they may sometimes be changed; but this resource should
seldom be employed, as it deranges the position of the hand, and, if not very carefully managed, causes a jerky
expression.
A succession of shakes is to be performed in the following manner:
2313 A 3 a 1 2
Right
hand.
m
& > *
-K. __
Left
hand
}
g? J* I ^ ^ I ^ '
*^ f-x a-2 ;-x
fg): ; t pi \ ^^-^-n^^^ rj i <y j-,
^^^^r^feE2^fe
When many descending shakes succeed each other, the small notes of the terminations are suppressed
'excepting in the last), because the commencement of the second shake serves as the termination of the first :
X9J9T? X ? T 2 T P
mill ?f2l2 3 x f ,|,| X2,2,2
i-S: 1
f T ^
f ^ "I
(S 1 J-J-*- 1
- F
-<s
rv**v*f*sw*swv*
1
2-X-/-X-7-X
1
1 7rj 1 ~ 1
=: * ^
rl
F==^fl
fj
2-x-r-x-r-x
-2-X-7-X-7-X
S ***
-2-X-T-X-J-X-r-2-J-
L=f^=H
Uight hand.
Left hand.
Shakes in thirds are fingered in different ways ; for instance, thus :
For R.H.,, f
t
3 4
X
t*Vf*P*ff3-\'*?**-*P : *P*
i P i 1 i c i i i i i i 1
For I..H. i
******
Shakes in fourths are fingered like shakes in sixths, thus :
For R.H. g f
tfOl L.H.
The mordente (or trill) is a brief shake indicated by the sign placed above the note on which it is
to be used, and is sometimes executed with one and sometimes (in slow movements and old clavecin music
signed thus tt* ) with two turns, thus :
Played.
W
CHORDS.
I. FIRM CHORDS.
The chief requisite for playing chords effectively is the possession of sufficient and equal strength in all
the fingers. Whether the chord is formed of three, four, or five notes, the distinctness of the middle note or notes will
be always the essential and most important point. It is but rarely that teachers are gratified by hearing their pupils
play good, firm, and distinct chords. The modern tendency to play in the broken or arpeggio manner has become
so generally diffused, that some performers seem to consider firm chords as altogether obsolete. The chord, when
firmly played, is the expression of determination, strength, and earnestness ; the broken chord, or the arpeggiando,
on the other hand, is the expression of softness, languor, despondency, and irresolution. The one may be likened
to the man, the other to the woman, in Milton's great epic :
" For contemplation he, and valour formed ;
For softness she, and sweet attractive
( 47 )
The reason why few performers excel in playing distinct and firm chords is to be found in the fact that
the majority of players do not raise the fingers high enough for striking the keys effectively down. The fingers
ought in this case to be regarded as hammers ; a decided, firm touch ought to leave no doubt as to the intention of
the player. The following position of the arm and hand for playing firm chords is recommended:
It may be advisable to bend the fingers a little whilst playing chords ; by shortening our fingers we gain
in what may be called "the power of attack." An outstretched finger cannot exert so much nervous force as the bent
finger ; the outstretched finger touches the key with the fleshy part; the bent finger with the harder tip, which, by the
help of the bone and nail, possesses greater power, and consequently gives more certainty, distinctness, and precision.
A firm chord must possess a certain ringing, vibrating quality ; but by all means let the performer carefully avoid
the besetting temptation to thump. Thumping, or the unregulated striking of the keys, causes the hammers to
touch the strings with a sidelong motion, and produces a dry, muffled sound, without crispness or expression. Thus,
thumping produces merely noise ; but a good, energetic, yet elastic pressing down of the keys shows power intelli-
gently applied. The beauty of the firm chord consists in its crispness and sonorous quality.
(Excellent examples of the splendid effect of firm chords are to be found in the prestissimo of Beethoven's first Sonata ; in the same
masteris Sonata (No. 23), Op. 57, first movement, seventeenth bar; and in his so-called Waldstein Sonata (No. 21), Op. 53, last movement in
part, beginning after the minore. See also Schumann, Op. 13, Variation No. 3.)
II. ARPEGGIO CHORDS.
Arpeggio chords, or harp-like chords, are those in which the notes are struck consecutively, not simul-
taneously. The arpeggio or arpeggiando, particularly when applied to accompaniments, and executed in a soft,
delicate, and graceful manner, forms one of the greatest bea"uties of pianoforte-playing. Our great composers
Bach, Haydn, Mozart, Beethoven, Mendelssohn, and Schumann understood thoroughly how to avail themselves of
the really indescribable charm which the arpeggio possesses ; but they used this effect with moderation and dis-
cretion, not indiscriminately and extravagantly, as it is too frequently used at the present time. Like the scale, the
arpeggio requires evenness and smoothness to produce an agreeable effect. In compositions where the melody is
sustained and is half-hidden, as it were, like a beautiful face covered with a diaphanous veil, the performer can
exhibit the arpeggio to the best advantage. The following examples will show the different effects of the arpeggio :
JOH. SEBASTIAN BACH (1685
^^r
GEORGE FR. HANDEL (1685 i
ggl-jgai ff *r -*r
III. Molto Allegro.
JOSEPH HAYDN (1732 18091
^~>=^^=^=^='i=^iE=^
-
fr
ores.
W. A. MOZART (1756 1791).
(49 )
v.
Abbe JOSEPH GELINEK (1^57 1825).
Allegro. < x
7X IX 21
VI.
JOHANN LUDWIQ DUSSEK (1761 1812).
Allegro.
DANIEL STEIBELT (1764 1823).
fi
VIII. Molto Allegro.
LUDWIQ VAN BEETHOVEN (17701827).
fitfta
*i-
6t
3 ,
^
f^Hi
-! _ m Sf^- E m-
v^t^ T^rt^-F
IX. Moderate espressivo.
JOHN BAPTIST CRAMER (1771 1858).
/? sempre legato
i
X. Allegro, '
, JOHANN NEP. HUMMEL (1778 1837)
FERDINAND RIES (1784 1838).
4 x 3
XII.
GEORGES ONSLOW (1784 1853).
Sva.
CARL MARIA VON WBIIER (1786 1820).
XIV.
Sva.
CARL CZERNY (1791 1857).
Allegro. .0.
XV.
A llegro.
FELIX MENDELSSOHN (1809 1847;.
*^
leggiero.
XVI.
Allegro vivace.
1X41
FREDERIC CHOPIN (1810 1849).
XVII. Vivace.
ROBERT SCHUMANN (1810 1856).
XVIII.
Lento.
FRANZ LISZT (iSn ).
XIX.
SIOISMOND THALBERQ (18121871).
A
xx.
5E
m
Et=fc^
*g*
i
;I&
ADOLPH HENSELT (1814 ).
la
-p-g
i
*
^TT^
S=
* *-
m
ff
XXI. Allegro vivace.
THEODORE DOHLER (1814 1855).
" Melodia marcato.
^#=$
( 53 )
The number of pianoforte effects derived from the arpeggio is truly astonishing. As preliminary or
preparatory studies for the correct/ even, and fluent execution of broken chords, the following examples may be
recommended. To save space only one stave is filled up ; the fingering above the notes is to be taken by the
right, that under the notes by the left hand :
4 4/424
7 4 2 X. 2 X .7,
444
434243
273737
7 X 7 X 7 X
2X2
777
_ 3 2 3
344444
X 7 3 4 3 7
, i I* i , ^e^fr &T
4 2 r x ; 2 4
fcftffN
' j ^ z J ^ r- ^-R^ r L^^J- u 7-3-4-x i J i i r
r 4 t>frffi ^ j^ j j ]\i j
ill m J- 7 -jrggffg5?-3=tt3E^
7 4 2 X ^^^^3 ^ -*-2 7 I y 7 -*-
' 4 2 X ""
The following examples are more difficult of execution :
3 4'Ai4,?-2X4 T*4 X 2 ' ^UU, 4 3 3 A^i ^ X 4 7 =? X 7 4 " Aii 4> 3 * *
( 54 )
The following studies are recommended for acquiring facility in all possible kinds of arpeggio playing :
dementi's " Gradus ad Parnassum," Nos. 12, 24, 30.
Cramer's " Exercises" (Peters' Edition), Nos. 5, 12, 15, 18, 21, 23, 24, 27, 33, 38, 46, 56.
Czerny's " L'Art de delier les Doigts," Op. 740, Nos. 2, 6, 12, 14, 15, 26, 31, 36, 46, 47, 50.
For extended arpeggios, see Chopin's " Studies," Op. 10, Nos. i and n ; Op. 25, Nos. i and 12; and the
"Studies" of Ferdinand Hiller, Ignaz Moscheles, Stephen Heller, Sigismund Thalberg, Ludwig Berger, Fianz
Liszt, &c. All these " Studies," however, are for more advanced performers ; for beginners, the " Twelve
Arpeggio Studies " by A. Krause are very recommendable.
TREMOLO EXERCISES.
In these exercises the key is struck i, with a somewhat extended finger and in an elastic manner;
2, without such extension, each finger being moved downwards and raised as usual.
321X321X321X 32 T X
i_ 1 _v_ o_ _ t _v_a_ '- i -V 1
2 r-X-5-l-X-2-;-X-2-J-X " S-2-1 -X-3-2-1-X.-3~2-1-X-3-2-1-X
****aly.JJ-4E=5
7X3? 1X31
x 4 x r x
g=l=*:^.,- x _, ,^4,-
i^^^E^^
IX X
fix. t i x
STUDIES IN THIRDS.
In playing thirds, fourths, and sixths, great care must be taken to raise the two fingers to an equal height,
and to strike their respective notes at the same instant, so that not the slightest separation of the double notes may
be perceptible. In the beginning, the following exercises must be played slowly and deliberately :
ggf^FEfflFBgEgS^
CONNECTED FOURTHS.
In exercises on connected fourths, a smooth, equal, supple, and elastic position and movement is still moie
required than in the playing of thirds. The greatest attention should be bestowed on acquiring a steady move-
ment of the thumb ; all the following examples must be learned in the strictly legato style ; all jumping, jerking, or
slovenliness must be rigorously avoided :
STUDIES IN SIXTHS.
An even and distinct performance of sixths is very difficult for players with small hands. The greatest
attention is to be bestowed on the movement of the third finger. Sixths, played legato, must be performed with an
entirely free and natural movement from the wrist. Only persons endowed with extraordinarily large hands can
play sixths with a motionless wrist.
As a preliminary exercise for stretching the fingers, the following may be useful :
Right Hand.
Left Hand.
blT
14-
r x
f -f-
7
X 7
"^
\/r~^
i L
c
L
(t>i 9
2
U P
<f
r
r
The semibreve must be firmly held down.
The student having now carefully mastered the foregoing exercises, the following are to be taken in hand.
The execution must be slow and careful ; and again, particular care is to be bestowed upon the third finger.
Slowly.
Slowly.
These eight examples are afterwards to be transposed and practised in all the different keys.
( 57 )
After having sufficiently strengthened the fingers by these preliminary exercises, the student may proceed
to the following examples :
=H iipp-ry^n
These examples ought also to be transposed into different keys with the same fingering.
For teaching the method of practising thirds, connected fourths and sixths, Carl Czerny's Toccata, Op. 92,
in C major, is invaluable.
OCTAVE-PLAYING.
The effective execution of octaves is one of the chief tests of a really good performer ; for octave-playing
requires not only great skill in manipulation, and a swift and smooth movement of the arm, but also a complete
freedom of the wrist, with a certain amount of real and positive physical strength. The fingers ought to be kept
always at the same distance from the keys, and should act with the quickness and suddenness of a steel spring.
For an efficient and smooth legato execution it is indispensable to use the third finger on all the black keys ; but
performers who have large hands will find it very convenient and useful occasionally to employ also the second
finger on the black keys. The thumb must be kept as closely as possible to the key; it ought to slide, to creep along.
In slow passages it will be found advantageous to supplement the fourth with the third (or, if possible, the third
with the second) finger, as this method ensures a greater continuity and smoothness of expression. The student
ought also to try to obtain a kind of undulating movement of the hands ; for this gives the fingers a motion
completely independent of the arm, and thus adds to the smoothness and evenness of execution.
Staccato octave-playing is, however, subject to quite different conditions. Two systems may be employed.
The first consists in playing with a stiff elbow and stiff fingers ; the second, in playing with a completely free and
loose wrist. The first method produces a clearer execution, which, however, may be deficient in tone, and is apt to
betray the weak point of the pianoforte as an instrument namely, the percussion sound ; the second method will
produce a richer, more sonorous tone (sometimes also a quicker execution), but with less distinctness.
We give a few examples to be practised from the wrist :
_
The following examples are to be practised in both manners; first from the wrist, secondly with a stifl
hand, In the second manner the time must be rather slower than in the first ; and throughout, the fourth finger of
the right hand is to be used on the upper notes, the fourth of the left on the lower notes :
From the wrist:
_-... Sva - m
ggfe f ggf ^ gf f 1
t ^ _. ^ M ^_ |
From the wrist and also with a stiff hand ; in the latter case, the fourth finger of the right hand for all
the upper keys, the fourth of the left for all the lower keys :
$-=._ nir- 4 ^ 4 ^+-
--
( 59
The following example combines both manners :
As exceedingly useful studies the following are recommended :
dementi's " Gradus ad Parnassum," No. 65 (Tausig's Edition, No. 26).
Czerny's No. 33 of Op. 740.
Moscheles' " Study in E flat minor," Op. 70.
Hummel's Op. 125, No. 8.
HummeFs Op. 18 (the latter part of the Fantasia)
Kessler's No. 8.
Hiller's Nos. i, 5, 24.
Chopin's Op. 25, No. 10.
Beethoven's Op. 54 (First Movement).
PART-PLAYING.
This department of pianoforte-playing is really the most difficult of all, as it requires absolute inde-
pendence. It demands an individuality for each ringer; but at the same time, proficiency in part-playing is an
indispensable qualification for every performer anxious to do justice to the great works of our illustrious classical
composers. Sebastian Bach's Fugues, Haydn's, Mozart's, and Beethoven's beautiful Slow Movements, one and all
require a perfect independence of the five fingers in each hand for bringing out the manifold and subtle points
in the composition, and for the just interpretation of the composer's meaning and intention. The following examples
will elucidate the nature of part-playing:
I. Andante. 80
This to be treated like a Soprano part.
JOHANN SEBASTIAN BACH (1685 1750).
Cr J J^ \\ " -^\f -- i ^-
p This to be treated like a Contralto ; fuller and
richer than the Soprano part.
~\
This has to be kept subordinate to the others, but perfectly distinct and accurate.
60
11
W. A. MOZART (17561791).
Cx ^" "^
This example requires a striking difference of tone-quality in the quaver and the crotchet passages.
HI. L. VAN BEETHOVEN (1770 1827).
This example explains itself.
IV.
Andante.
CARL MARIA VON WEBER (1786 1826).
The part indicated by Weber as tewa must be played with a richer tone than the accompaniment ip
semiquavers.
JOHN BAPTISTE CKVMER (1771 1858;.
T X 7
The part a should be played with a full, rich tone ; b in a kind of murmuring manner ; c distinct, but not too
prominent ; d full and very sonorous.
Among the best preliminary studies for part-playing are Sebastian Bach's fifteen two-part Inventions
and fifteen three-part Symphonies. Also in Handel's Suites (for instance, the Suite in D minor, the Air with
Variations), and in Rameau's and Couperin's pieces, many beautiful examples of part-playing, or the polyphonic
style, are to be found. An unlimited number of beautiful examples in this style are also contained in Haydn's,
Mozart's, and Beethoven's works.
MODERN ORNAMENTS AND GRACES.
The small notes which serve as ornaments to a melody are the appoggiatura, the acciaccatura
(crushing), the slide, the gruppetto or turn, the shake, and the mordente or transient shake. (Concerning the
shake and mordente, see the chapter on the SHAKE.)
Appoggiaturas and acciaccaturas are small single notes, resembling each other, but differing in the mode
of performance.
The appoggiatura, which is never more distant from the principal note than a tone above or a semitone
below it (unless where it is a mere repetition of the preceding note), usually divides the time with the principal
note.
,Thus,
I is performed
Acciaccaturas, slides and groups of two or three notes are placed immediately before the principal note,
gjjj Groups of small notes.
ft ^Sk. . <^ h.
^
Acciaccaturas. p P
** "
JJ
4=
In the old school it was understood that they should share in the time with the principal note but they are
now to be played quickly and lightly, before the time of the large note.
9Jj^-V-=*-V-H P e r form ed '-^rtt
SEE I P * II thus : \-4-S
Tl > I I *^
not thus :
The turn (gruppetto) is composed of two, three, or four notes, ascending or descending, which should be
closely united with the principal note, except in slow expressive passages, when it may often be played much
slower with good effect.
This passage Allegro
thus:
The same Adagio
An abbreviation is sometimes used to express the above turn, thus, rv ; and Hummel recommends that
when the turn is to begin with the lower note and to ascend, it should be written thus %.
Descending turn.
Ascending turn.
Effect.
Effect.
If the highest or lowest note of a turn requires a $, !?, or Jj, these signs are placed over or undei the
abbreviation.
dt=zi=
tr
m
5=)
Played thus.
Played thus.
Played thus.
Groups of four small notes, ascending or descending, often terminate with the note on which they have
commenced : there are, however, exceptions to this rule :
Exception.
The embellishment or grace ought always to be played more delicately than the passage which it is intended
to adorn or embellish. In modern pianoforte music the ornaments are generally written in smaller notes, thus
implying that the tone, like the print, ought to be diminished. The following example is from Chopin :
8t'd...
KOI embellishments, manners or graces of older music, see page 69.
UNEVEN NOTES.
Almost every student finds it very difficult to play a group of two notes together with one of three, or
one of four with another of six, six with eight, or eight with twelve ; generally the effect produced suggests the
idea of limping, or of a jerky or spasmodic movement. This difficulty can be overcome when the four and six
notes, for instance, are played together exceedingly slowly. An example will explain the mode of proceeding :
L. VAN BEETHOVEN (1770 1827).
The student counts, in the right hand part, six semiquavers to each crotchet ; in the left hand, however,
only four. The following is the result :
12 34 66 12 34 66 13 34 56 12. 34 56 12 34 66 12 34 f)6_
* *
It cannot be too strongly recommended to the student to examine and analyse all such points with
extreme care and deliberation. This very process of learning slowly, of examining and analysing the figure, assists
the student's ear in music as much as the magnifying glass helps the eye of the scientific student of nature,
in becoming acquainted with the minutiae of an object.
THE USE OF THE PEDALS.
The use of the pedal on the right, sometimes called the " loud pedal," is to raise from the strings the
dampers, which check the vibrations of the sound, and consequently, to increase the volume of the tone. It is
therefore evident that the pedal ought strictly only be applied for passages of one harmony, care being taken to
release it whenever the harmony changes, or when the passages are composed of notes in either diatonic or
chromatic succession.
The pedal on the left, called the " soft pedal " by shifting the key-board, causes the hammer to strike one
wire or string less than the usual number. If used properly, and if assisted by a delicate touch, it produces a most
excellent effect ; if the performer, however, does not reduce the power of touch when using the pedal, it will do great
harm to the instrument, besides producing a nasal, muffled tone, which becomes monotonous and wearisome.
The music of the modern school, abounding in modulation, obliges the foot to be kept in almost perpetual
motion, and therefore easily puts the pedal out of order. The pedals ought to be pressed down so gently that
this movement of the foot is perfectly inaudible.
Pedals ought never to be used for the first practice. Many performers who are deficient in precision, cor-
rectness, and clearness, conceal their want of skill by means of the loud pedal. The result is, however, a mere
confused noise a kind of musical chaos, which at once acts most detrimentally on the progress of the student and
fatigues the listener.
( 64 )
In staccato passages the pedals ought never to be used, for the simple reason that by using them tbe staccato
ceases to have the effect of detached notes.
These are merely the chief principles for the proper use of the pedals ; the limits of our treatise do not
allow us to go into details. The student who. desires to become acquainted with a rational use of the pedals is
advised to look carefully through Beethoven's Sonatas, beginning with Op. 27 (the so-called Moonlight Sonata),
Moscheles' Studies, Op. 70, Thalberg's Fantasias, Chopin's Nocturnes, Mendelssohn's Songs without Words, and
Liszt's Transcriptions of Schubert's Songs.
FINGERING.
The fingering ought to be practical, and ought thoroughly to accommodate itself to the peculiarities of
the construction of the hand ; it is therefore almost impossible to lay down strict rules for fingering. One general
rule is certainly that, as the whole system of pianoforte-playing is founded upon the scale, the fingering ought to
approach as much as may be to the scale itself. The fingering for broken chords is absolutely the same as that
used for firm chords ; in mixed passages, the performer has to find out the structure of the chord to determine the
system of fingering. For example
Fingering for large hands.
x i 3 x-
X.21 4
r* fcs 2 i r I i I
F^rrf J J r?=
For small hands. ' : ? *
In passages like the following
the fingering becomes evident, through the sequences.
In passages like this (Beethoven, Op. 7)
2 a i i
the fingering a will best suit weak hands ; that marked b is practical for stronger hands.
In passages like the following
r:
::t - SIS 4-3-2-1 L X- ' 100 43-2-1 L X-3 ^ I SSS^^S b_^_ 1 1__^
6 5T
* X ' *
.3432 X _
X T 3 IS
or( x J 2
the fingering a will be found best for small and weak hands ; b for hands of a larger size ; c for large and very
powerful hands.
A very ingenious mode of fingering is given by Chopin :
(65 )
Indeed, the mode of taking the third finger after the fourth in ascending, and the fourth after the third in descending,
indispensable for the proper execution of Sebastian Bach's Fugues, is also very necessary in modern music. An
excellent example of this mode of fingering is given in Chopin's " Study in A minor," Op. 10, No. 2. Further
excellent examples of the practical, systematic, and thoughtful application of fingering are, amongst others, to be
found in Johann Sebastian Bach's "Suites," edited by Griepenkerl ; in Czerny's "School of Velocity," Op. 239, and
"L'Art de delier les Doigts," Op. 740; in Moscheles' "Studies," Op. 70; in Liszt's "Caprices," after Paganini;
and in Hummel's " Studies," Op. 125. The following few hints as to general principles to be observed will be
found useful:
In the use of the fingers let the player be guided by the construction of his hand, which should always
keep its natural position.
The fingering for pieces which demand a rapid execution must be laid down according to strict rules, and
ought to be in harmony with the rhythmical accent to be given. Take for an example Chopin's " Study No. 4,"
Op. 10.
The same finger ought not to be used upon two adjacent keys, when the tones are to be connected.
Exceptions may be found in part-playing, for instance in four-part fugues. The thumb should be freely employed
on black keys, when by this means a uniform execution can be obtained.
For pianissimo passages a wide fingering should always be taken, as any constraint upon the muscles
might interfere with that supple and easy movement of the hand which is indispensable for soft playing.
Let the player diligently practise the quiet changing of the fingers upon a single key. We give an
example by Dr. Schumann :
Right
hand.
Left
hand.
7X 7X
32 32
TX
^s
32
[ ft'?*
4-q ' i I P
Right * ** J
hand. J. x J_ r J_
g-n^g^T
C 66
V.-ON PRACTISING.
Practising is not merely a mechanical work, but has also an intellectual phase which, when properly
developed, produces good fruit, in saving time and trouble, and in a readier achievement of the wished-for result.
The first condition for a good and useful practice is a judicious apportioning of the time at the pupil's disposal.
Taking the minimum of time that can with any good result be devoted to pianoforte-practice, namely, one full hour
daily, we would recommend the following distribution :
Minutes.
Technical exercises scales ... ... ... ... ... ... ... ... 10
Study 15
Classical piece, one movement of a Sonata, or a single classical piece 25
A lighter piece (drawing-room music) ... ... ... ... ... ... ... ... 10
60 i houi.
If the student intends to devote his life to the musical art, four hours daily are indispensable. The first
division of this period of four hours ought not to exceed two full hours. These two hours might be apportioned in
the following manner:
Minutes.
Technical exercises scales, single or double ... ... ... ... ... ... 30
Studies 30
Sonata or Concerto 40
Lighter piece (drawing-room piece) ... ... ... ... ... ... ... ... 20
120 = 2 hours.
The amateur student will generally find a little spare time in the afternoon, say forty-five minutes;
these forty-five minutes ought to be used thus :
Minutes.
Playing through the study learnt in the morning, with repetition of one or two learnt before 10
Classical piece, with repetition of one or two movements learnt before ... ... ... 20
Reading at sight or playing from memory ... ... ... ... ... ... ... 15
45 minutes.
The professional student may use the second portion of his day's practice, the two afternoon hours, in the
following manner :
Minutes.
Technical Exercises ... ... ... ... ... ... ... ... ... ... 20
Studies ... ... ... ... ... ... ... ... 20
Sonata or Concerto ... ... ... ... ... ... ... ... ... ... 30
Repetition of former pieces ... ... ... ... ... ... ... ... ... 20
Exercising the memory or reading at sight ... ... ... ... ... 30
120 = 2 hours.
Every piece, study, sonata, concerto, &c., ought to be analysed, so to say prepared for practice ; the most
difficult parts, previously carefully fingered, to be attacked first ; the melodious parts to be played every time with
proper expression. The technical passages have to be practised without pedal, and in moderate, even sl&w time.
Whilst practising, every sign of expression has to be carefully attended to.
An absolutely even balance between the physical and mental powers, with regard to health and vigour, is
necessary for a satisfactory practice. It is not the quantity, but the quality of practice that ensures progress. A
merely mechanical or thoughtless exercise of the fingers may strengthen the muscles and sinews, but will not pro-
duce real progress ; only when the intellect initiates, assists, and directs the mechanical practice, can a satisfactory
progtesp be attained
The following maxims of Schumann may be taken as a gef.eral guide for practice :
" Never jingle. Play with steady application, and always finish the piece.
"Tardiness and hurry are both great faults.
" Take pains, and play easy pieces well and neatly : better this, than an indifferent performance of
difficult ones.
" Play always as if a master were listening."
I have here to add some personal advice for the student ; it is as follows :
Consider technical exercises as the daily physical exercise which is necessary to keep you in health.
Always come to your lesson with honest goodwill, and with a sincere desire to advance and to improve.
Do not get hold of the notion that your teacher finds fault with you for the mere sake of fault-finding.
Always be assured that ultimate success will ensue, if you give yourself the trouble to work for it ; success
may be deferred, but it will come at last.
Remember that a good composition is worthy of a good practice.
Regularity, system, and precision are not only excellent general qualities, but may be reckoned among
the principal conditions that ensure a useful practice and guarantee a successful performance.
Do not stammer through your practice ; if you stumble in a passage, leave off at once ; then attack the
obstacle again and again, till you manage to overcome it effectually.
Mind and body must both be vigorous when you practise. If you feel unwell, better leave off for awnile
until you have recovered.
Make yourself acquainted with the lives and portraits of the classical composers. Your interest in them
will thus be heightened, and you will seem to meet them in their works.
VL-FEELING EXPRESSION.
Although feeling emanates from the heart, and cannot be reduced to mathematical rules, there are general
laws of interpretation which even the most enthusiastic and sympathetic person must recognise and obey. The
outward means for exhibiting feeling and expression are by playing soft (piano) and loud (forte), increasing the
tone (crescendo) and diminishing its force (decrescendo or diminuendo), sustaining the notes (legato), playing them
in a short unconnected manner (staccato) ; to play with great quickness (allegro) or slowly (adagio or andante), to
hurry or accelerate the movement (accelerando or stringendo), or to lessen and decrease the movement (ritenuto or
rallentando). For the distinctness and comprehension of the time and the structure of a phrase, the appearance of a
melody, the peculiarity of a harmony, accents are indispensable. To keep strict time is another necessity for playing
with feeling ; the individual feeling of the performer must be subordinated to the original intention of the composer.
All exaggeration in feeling leads to caricature ; and by the repeated application of the same mode of
expression to different subjects the style deteriorates into mannerism. An exaggerated accent may entirely spoil
the beauty of a figure ; for instance, if the following passage of the Finale of Beethoven's Sonata, Op. 26, were
recommended by the teacher to be played, for the sake of distinctness, with a gentle accent on the first note of the
group of four, thus
and the pupil were to perform it thus
this would be exaggeration. The real beauty and effect of the crescendo and deerescendo, the accelerando and
ritenuto, consist in their well-defined and carefully -weighed gradations, in their regulated growth and decline, in
their increasing animation, and almost imperceptible return to calmness and quiet.
Anachronism in feeling is another great mistake. No player has a right to introduce into a piece a feeling
incompatible with the period in which it was written. If we were to play a aimple, unpretentious, yet charming
( 68 )
Gavotte of Sebastian Bach with the same fire, energy and dash which it is quite right to infuse into the execution
of Weber's brilliant Polacca in E major if we were to play Handel's "Harmonious Blacksmith " in the same style
as Thalberg's " Home, sweet home " this would be anachronism ; because we should be employing certain means
which the state of the instrument in Bach's time did not admit, and therefore those effects could not have
possibly entered into the composer's mind and intention.
Even if we do not go so far as to lay down as a rule that the soft pedal ought not to be used for delicate
passages in Scarlatti's, Rameau's, Bach's and Handel's works, for the reason that the pedal was invented at a
much later period than that in which they wrote, we must protest against the growing and pernicious fashion
of substituting for the venerable, quiet, sedate and dignified expression of these masters, the modern, rather
exaggerated, and sometimes spasmodic character which most of the present performers consider the exponent of
real feeling. " Regardit as something abominable," says Dr. Schumann, " to meddle with the pieces of good writers,
either by alteration, by omission, or by the introduction of new-fangled ornaments. This is the greatest indignity you
can inflict on art."
VII -THE DIFFERENT SIGNS OF EXPRESSION.
Largo, slow.
Larghetto, less slow.
Lento, lingering.
Grave, heavy.
Adagio, less slow and broad than Largo.
Andantino, rather slow.
Andante, slow, but with movement.
Allegretto, cheerfully.
Moderate, moderately.
Allegro, lively.
Vivace, with animation.
Vivacissimo, fiery.
Presto, very quick.
Prestissimo, as fast as possible.
Assai, very. (Allegro assai, very quick.)
Un poco, a little.
Un poco piii, a little more.
Meno, less.
Noit troppo, not too much.
Molto, much.
= or A over the note, means sf. (sforsato) or
rfz. (rinforzato), strengthened. This sign is
used for single notes only.
p, piano, soft.
pp, pianissimo, very soft.
mf, mezzo forte, half-loud.
/, forte, loud.
jff, fortissimo, very loud.
fp, the first note loud, the others soft ; for example
execution
Cresc., crescendo, increasing.
Decresc., decrescendo, decreasing.
Dim., diminuendo, diminishing.
Accelerando, accelerating.
Mancando, diminishing.
Calando, getting more quiet.
Smorzando, dying away.
from soft to loud.
from loud to soft.
The sign for staccato, detached, is :
*
staccato.
frfrri
- J executed ^_T ^ ^3^-^^T -^~
executed
''.'.
or staccatissimo,
n - *
vT * *
I r *i _ *i L'M'
irh r. I
. ' U ' IX 1 "^ 1
The sign for legato (bound, sustained) is :
3
7V., tenuto, held, means to sustain a single note.
M. M. (Maelzel's Metronome).
40 to J= 69. Largo.
0= 72 to 0= 96. Larghetto.
J= 100 to J= 126. Adagio.
126 to J= 152. Andante.
160 to J= 184. Allegro.
J ^ 1 84 to J = 208. Presto.
VIII.-GRACES AND MANNERS, AS EMPLOYED IN OLDER
CLAVECIN MUSIC.
FRAN9OIS COUPERIN (1713).
Sign.
Sign. ^
J. P. RAMEAU (1731).
^ tf Lxx
v\)
Ryj-f f FH
|zJ^-^ f-
US 1
1 =
= n=^- r i
n Execution.
i i t i
< y <* r 1*1*1* i
-J . i (
I = ? ri t( "' ~j*~n rfrrrff ^
1
Execution.
, P5.q,|f ^5
H^ h.
Sign.
C. PH. EMAN. BACH (1787).
Tremblement on the Clavichord.
-ts : =:
Execution.
( 7 )
1X.-THE NECESSARY CONDITIONS FOR A GOOD PERFORMANCE.
Technical execution is certainly one of the indispensable attributes of good pianoforte-playing. All the
performer's enthusiasm, fire, feeling, and fancy will not avail him effectually to conceal mechanical deficiencies ;
and the style of his playing must, without the possession of a certain technical efficiency, remain broken, spasmodic,
in short, imperfect. Technical execution represents, so to speak, the dress in which the performance appears clad.
Let a thought or a sentiment be ever so grand or true, if the words in which the thought or sentiment is clothed
are weak, mean, and inadequate, the impression left will be comparatively feeble and transient. This also holds
good with regard to technical execution ; so long as neatness, clearness, and evenness are wanting, the ear will
never be completely pleased ; we may be gratified by the " reading " of single passages, but we cannot experience
a thorough satisfaction at the performance generally.
" Above all things," says Mozart, " a player should possess a quiet and steady hand, the natural lightness,
smoothness, and gliding rapidity of which is so developed, that the passages flow like oil all notes, graces,
accents, &c., must be brought out with fitting expression and taste In passages we can leave some notes
to their fate, and no one may notice it ; but is that good ? "
A conscientious and faithful regard to all terms, signs of expression, indications of changes in the time
given by the composer, is strictly necessary ; so is also an artistic refinement that seeks out patiently and carefully
all the hidden beauties ; an energetic will that does not grudge the time and trouble to try over and over to find
out the best mode of fingering, the most comprehensible and clear style of playing ; and a never-ending zeal by
\vhich the performer may be said to identify himself with the composer, and which enables him to present the work
in a natural, thoroughly comprehensible, and entirely satisfactory manner.
X. THE ORDINARY FAULTS IN A PERFORMANCE.
The faults most frequently found in pianoforte-playing consist in exaggeration of feeling and expression, in
too strong or even vehement accentuation, and in want of rhythmical feeling, indistinctness of execution, a
continual change of time, hurrying or dragging the time; slurring, an indiscriminate use of the pedal, thumping,
want of evenness in the movements of the hand, the habit of throwing the body about and of flinging the hands
into the air; lack of accuracy and faithfulness in interpreting the original text, interpolation of strange passages,
changing the terms of expression given by the composer; unnecessary doubling of the notes where the author
desires single notes, playing in octaves the notes with the little finger indistinctly, and last, not least, playing
chords in the arpeggiando manner where firm chords are indicated. All these are faults worthy of serious censure,
and should be carefully avoided.
XI.-ON READING AT SIGHT.
The art of reading music at sight ought to be studied according to the rational principles of general reading.
The child first learns the alphabet ; the letters are represented in music by the notes. The next step is to put
together syllables; these syllables are in music represented by the intervals (struck together). A step further brings
the child to spelling the entire word ; in music the chord is the word. Taking an average we might say that an
ordinary piece, such as children of seven to ten years generally play, is made up of from ten to twenty chords. The
frequent appearance of such chords as the seventh, the 6-4 chord, and others most in use, leads by degrees tc such
an intimate acquaintance with these chords, that the child soon knows the face or physiognomy of each one,
recognises it at once on its reappearance, and is saved the trouble of reading out all the notes of which the said
chord consists. A composition is made up of chords and figures which figures are again scales and broken chords ;
a slower figure is the melody itself. The following may be designated as the rules which have to be observed for
reading at sight. Before we begin the piece, it is indispensable to make ourselves iamiliar, hrst, with the time ;
secondly, with the key ; and thirdly, with the figures and passages that occur in the piece.
^ 71 )
From this superficial glance the following rules result : first, if the time is very slow, we have to find out
whether we count crotchets or quaveis ; secondly, if the key is a difficult one (in five or six sharps or flats), we must
impress on our memory most particularly the third and again the leading notes of each key ; we should once or
twice play the principal scale and the relative minor (or major) scale, and finally the scale of the lower or higher
dominant of the principal key; thirdly, as regards the passages and figures of the piece, we ought, before beginning
to play the piece, to look over each and every one of its pages, as it may happen that the first pages contain only
simple and easy matter, and a more difficult passage may quite unexpectedly make its appearance. " Should anyone
place a composition before you to play for the first time, look it through previously," says Schumann. In reading,
we ought to advance regularly and quietly. There is no use in stopping when a mistake has been made, and returning
to a passage that has been missed ; for this would be in fact practising, not reading ; nor should the reader ever be
afraid of breaking down. With a good hearty will, with a self-concentration that shuts him out from all that is
going on around him, and with his faculties bent on the matter before him, the reader must proceed regularly and
systematically. Economy is a chief attribute of reading. By this we understand the faculty of avoiding unneces-
sary dwelling on what has already been read. There are hundreds of passages that consist merely of repetitions, or
are variations of one particular chord ; we may, for instance, take a chord of the seventh like ZTZ : This chord,
*fcB &
consisting of four different notes, namely, jga & & ~ allows of four different positions, namely,
~& ^ After a short time the attentive student will recognise and remember these different
positions, and will become acquainted with their design ; so that he has merely to read the first of the four notes, the
three remaining notes falling into their places quite naturally, especially if either hand guarantees the harmony. Just
so it is with scales. The practised eye detects at once, assisted in this by the other simultaneous parts, whether the
scale is a major or minor one, whether it is intermixed with other figures, such as turns, &c. Where it is merely a
simple scale, only the starting notes have to be read, and the eye has to glance at the top or finishing note ; thus
the reading of perhaps thirty or forty notes is saved. Still easier is it with chromatic scales, as of these we read the
lowest and highest notes only. To gain confidence for reading at sight, it is well always to take an easy piece for
practice in reading, a piece not only easy as to technical execution, but also in a simple key, such as one or two
sharps, and two or three flats. The practice of reading at sight ought to be regularly kept up, and this practice
ought to be associated with the greatest variety of material to be read. Different kinds of styles ought to be
selected. If the student has the opportunity and the leisure to read a piece over a second time, he will deem it a
duty to play it better than the first time ; the third time it will go better than the second ; indeed, we might describe
the stages of development in successive reading at sight thus :
First reading all the notes have to be played.
Second reading the accents and terms of expression are to be correctly given.
Third reading the spirit and general expression of the piece can be produced.
Playing at sight is a kind of economic musical knowledge, and the following conditions are necessary foi
it: first, a good grounding in technical execution; secondly, a regular and systematic knowledge of fingering;
thirdly, a cheerful and ready disposition ; and fourthly, undivided attention and concentration of the mind on the
work in hand.
XII EXERCISES ; STUDIES.
The Exercise may be defined as a figure or passage that is to be repeated over and over again without
any variation in the harmony or melody ; its object is to impart technical facility. The Study, on the other hand,
is a short musical piece which presents the figures of the exercise in a variety of designs. Thus, the exercise may
be Termed the raw material, the study tne manufactured article.
Among the technical exercises that combine thoroughness with a systematically arranged design in
gradual development, we strongly recommend :
Plaidy, Louis, " Technical Studies."
Knorr, Julius, " Materialien far das mechanische
Klavierspiel."
Herz, H., " Gammes et exercices."
K6hler, L., " Technische Materialien ; " Op. 170.
Czerny, C., " Forty Daily Exercises."
Miiller, A. E., " Instructive Ubungsstucke."
Among the studies for beginners, we recommend :
Brunner, C. T., Op. 412.
Chwatal, F. X., Op. 105.
Czerny, Carl, Op. 139.
Schmitt, Aloys., Op. 16.
Clementi, Muzio, " Preludes and Exercises."
Kohler, L., Op. 151 ; Op. 50 ; Op. 152.
Berens, H., Op. 61 ; Op. 73 ; Op. 79 (for children).
Gurlitt, C., Op. 50, 51, 52, and 53.
Krug, D., Op. 213.
Enckhausen, Op. 63.
Czerny, C., Op. 353.
Duvernoy, J. B., Op. 176.
Lemoine, Op. 37.
Czerny, C., Op. 299, " School of Velocity.
Bertini, H., Op. 100.
Heller, S., Op. 47.
Loschhorn, A., Op. 66.
For more advanced performers :
Heller, S., Op. 45 ; Op. 46.
Krause, A., Op. 2.
Bertini, H., Op. 29 ; Op. 32.
Czerny, C., Op. 740.
Grund, C., Op. 21.
Clementi, Toccata in B flat.
Pollini, F., Toccata in G major.
Onslow, G., Toccata in C major.
Czerny, C., Op 92 ; Toccata in C major.
Mayer, Carl, Toccata in E major.
Moscheles, I., Op. 73.
Bach, J.S., Fifteen Inventiones; Fifteen Symphonies
Mflller, A. E., Caprices (i 15).
Cramer,]. B., "Studio."
Clementi, M., "Gradus ad Parnassum."
Mayer, Carl, Op. 200 ; Op. 119.
Kessler, J., Op. 20.
Doring, Op. 24 ; Op. 30, " Rhythmical Studies."
Kohler, L., Op. 128, " New School of Velocity."
Loschhorn, A., Op. 67.
For very advanced performers :
Kohler, L., Op. 112.
Czerny, C., " The School of the Legato and Staccato."
Heller, S., Op. 16.
Seeling, H., Op. 10.
Killer, F., Op. 15.
Taubert, W., Op. 40.
Goldschmidt, O., Op. 13.
Bennett, W. S., Op. n.
Berger, L., Op. 12 ; Op. 22.
Moscheles, I., Op. 70.
Kalkbrenner, F., Op. 145.
Chopin, F., Op. 10. ; Op. 25.
Moscheles, I., Op. 95.
Henselt, A., Op. 2 ; Op. 5.
Schumann, R., Op. 13 ; Toccata, Op. 7.
Dohler, T., "Twelve Studies."
Thalberg, S., Op. 26; "Three Studies."
Schumann, R., " Paganini's Caprices," Op. 3 ; Op. 10.
Mendelssohn, F., Op. 35, "Preludes and Fugues;"
"Three Studies;" "Three Preludes."
Bach, J. S., "Forty-eight Preludes and Fugues."
Liszt, F., "Three Studies;" "Six Caprices de
Paganini;" "Etudes d'une execution trans-
cendante."
" New Gradus ad Parnassum : One Hundred Studies
by different Composers."
(73)
XIII.-THE ORDER IN WHICH THE SONATAS OF OUR CLASSICAL
MASTERS SHOULD BE STUDIED.
Emanuel Bach (Edition of Leuckart in Leipzig, or in Farrenc's "Tresor du Pianiste ").
Sonatinas by Clementi.
Sonatinas by Kuhlau.
Sonatas by Haydn.
Sonatas by Mozart. As the number of Mozart's Sonatas differ in the various editions, the thematic
beginning is here given :
Allegro.
No.
x6 ; in C. g-tt-l- f I [
dolce.
Allegro.
No. i, in C.
No. 17, in F.
No. 2, in F.
Allegro.
1) j
No. 18, in nb.JT^i\ ^ I - .
- $\> 4. ^^J h-
^^ - c
f
Allegro moderate.
tr
No. 10, in C.
Allegro^
y ft q
No. 5, in G.
P
Allegro.
n , * ^T-^ -T
No. 3, in &. j
^-4-
Q ^ _ m _ A-_
/4 llegro.
No. 6, in D.
No.
Allegro. -^
,. . h F. ^jr^r^r^^^i
f>
No. I3 , in Bfr.
Allegro
.. J.
No.
V mf
Adagio.
4, in Eb. jp^E^-gg
f
mf*
Allegro con spirito.
No. 7 , inC.
Allegro con spirito.
No. 9, in D.
j
J
Andante grazioso.
o- ii, in A.
Allegro maestoso
Sonatas by Clement..
Sonatas by Dussek.
Caprices by A. E. Miiller.
Sonatas by J. N. Hummel.
( 74 )
Sonatas by Beethoven, Nos. 19,20, 25, 9, 10, i, 2, 3, 6, 5, 7. 8, 4, n, 15, 12, 13, 14, 16, 17, 18.
Sonatas by C. M. von Weber, Nos. i, 4, 3, 2.
Sonatas by Franz Schubert, Nos. 3, 4, 2, 5, 7, I, 8, 6, 10, 9
Sonatas by Beethoven, Nos. 22, 21, 24, 23, 27, 26, 28, 30, 31. 32, 29.
N.B. For beginners the excellent easy Sonatas by A. Krause, Taubert, and C. Reinecke offer valuable
material.
XIV.-CLASSIFICATION OF COMPOSERS; THEIR STYLES AND
SCHOOLS.
The number of composers who have written for the clavecin or harpsichord, and later for the pianoforte,
is extraordinarily large. The oldest writers were almost all organists ; and it is therefore natural that their
compositions for the keyed chamber instrument recall to some extent the great exponent of Church music, the
organ. Domenico Scarlatti (1683 1757) was the composer who initiated a more lively, brilliant style. Couperin
again (1668 1733) wrote in a more polished manner than that of his predecessors ; his compositions are
characteristic pieces. He calls them " little portraits and recollections of persons or events I desired to fix by a
musical expression in my memory." (Couperin's Works, 1713: Paris.) Sebastian Bach enlarged the domain of
the clavichord in a remarkable degree. His French and English Suites, his Partitas, Toccatas, Fantasias,
Preludes, and Fugues, &c., are immortal bequests of a powerful genius. In the two collections of Handel's works
for the clavecin we find many valuable pieces. The Sonata, really a condensed Suite, was invented by Kuhnau
(1667 1712), and soon came into general favour; it was greatly improved by Emanuel Bach, whose period of
chief activity as a composer coincided with the invention of the pianoforte. Haydn (1732 1809) enriched it with
new and charming effects ; Mozart (1756 1791) in his turn made a step in advance of Haydn. In the eighteenth
century, Italy could boast of very clever composers Galuppi (1703 1785), Martini (1706 1784), Paradies (1712
1798) who wrote some interesting and effective Sonatas. It was, however, Clementi (1752 1832) who initiated
the so-called technical school, which, through his pupils, John Field (1782 1837), John B. Cramer (1771 1858),
A. A. Klengel (1784 1852), and L. Berger (1777 1839), became universally influential, and advanced the
technical execution on the pianoforte in a very great degree. The incomparable Sonatas and other pianoforte
works of Ludwig van Beethoven (1770 1827) towered above all the compositions of his contemporaries ; although
it must be owned that we not only owe to Carl Maria von Weber (1786 1826) some very fine creations, but also
have to thank him for several highly important innovations in point of effect. The composers J. L. Dussek
(17651812), D. Steibelt (1764 1823), Woelfl (1772 1812), J. N. Hummel (17781837), and Ferdinand Ries
(1784 1838) contributed many valuable works to the catalogue of pianoforte music. The clever and ingenious
Ignaz Moscheles (1794 1870), the industrious and elegant Frederick Kalkbrenner (1784 1849), Henri Herz
(1805 ), the indefatigable educationist Carl Czerny (1791 1857), the French composer Henri Bertini (1798 1876),
and the efficient English musician Cipriani Potter (1792 1871) each and all helped to further the progress of
pianoforte playing. Franz Schubert (1797 1828), Felix Mendelssohn-Bartholdy (1809 1847), Frederic Chopin
(1810 1849), and Robert Schumann (1810 1856) presented such fine and intellectual works, that many of the
preceding composers, once valued and popular, fell into comparative oblivion ; while the eminent and really
astonishing feats of technical execution by Sigismund Thalberg (1812 1871) and Franz Liszt (1811 ) seem to have
shown the culminating point attainable in mechanical manipulation. Under their hands the pianoforte, formerly
a modest chamber instrument, was actually transformed into a chamber orchestra. We must mention also the
graceful composers Wilhelm Taubert (1811 ), Ferdinand Hiller (1811 ), Adolph Henselt (1814), Stephen Heller
(1815 )> Niels W. Gade (1817 ), the genial Anton Rubinstein (1829 ), the great scholar Johannes Brahms
(1833 ), and the gentle and poetical William Sterndale Bennett (1816 1875), each of whom has given us interesting
and valuable works. We might continue to swell the list indefinitely, by the enumeration of many distinguished
names ; but such a process would overstep the limits of this work.
With regard to the different styles which the literature of the clavecin and pianoforte can show, we may
say that at first we find a rigorous style, being a natural consequence of the fact that the composers and performers
( 75 )
were organists. Through Sebastian Bach, Scarlatti, Rameau, Couperin, a. freer style was introduced ; the influence
of vocal music made itself felt to a certain degree in the domain of the clavecin, and we meet with a lyrical
expression finely represented in the compositions of Emanuel Bach, Joseph Haydn, and Wolfgang Mozart. The
Sonatas of Beethoven, demanding for their grand and noble ideas much greater mechanical means, resulted in a
symphonic style. The dramatic predilections of Weber influenced also his pianoforte works ; and in his Concert-
stuck and four Sonatas we may trace a dramatic style ; at the same time Weber may claim the merit of having
suggested the romantic style, in which Schubert, Mendelssohn, Chopin, Schumann, Liszt, Henselt, and Heller
excelled.
In considering the schools, we may venture to say that a technical and again a more strictly musical
tendency is perceptible since the second half of the eighteenth century ; the difference of these two schools is
most clearly found, by a comparison of dementi's compositions with those of Mozart. Without entering into
details, it may be said that generally those composers who wrote both for the Opera and the Church inclined more
towards what, in default of a better expression, must be called a musical tendency ; whilst those composers who
were executive artists on the clavecin and pianoforte excelled more in the technical school. A few exceptions
exist Johann Sebastian Bach, W. A. Mozart, Ludwig van Beethoven, Carl Maria von Weber, and Mendelssohn.
XV. CONCLUDING REMARKS.
We have examined and discussed the principal rules and laws that regulate good pianoforte-playing ; and
have seen that pianoforte-playing has a scientific side. The term "scientific" may appear affected or strained ; yet
we may remark that to play really and truly in an artistic manner, so as to render full justice to the authors we
have to represent on our instrument, is an achievement requiring a somewhat closer and more rigorous attention
than would at first seem requisite. The richer the subject, the more intellectual the composition we have to interpret
the more difficult becomes our task ; and, indeed, any one who sits down to play a Sonata of Beethoven or any
masterpiece in music before an intelligent audience, has undertaken a task which involves a certain definite and
serious responsibility. " We set up" (we are quoting some remarks of L. Kohler in his " Clavierunterricht ") " the
lifeless notes before our eyes. Not only have we to go through the mechanical labour of reading we have to bring
to bear all the power of our intellectual faculties, which must be concentrated on the music before us ; we have to
be quick to appreciate aH the fine points, all the beauties of the work. It is our privilege to interpret many a
charm which to the inexperienced or hasty player remains a mystery. A refined performer will have all his
sympathies and his capability aroused by a good piece, physically as well as mentally. The intellectual anc'
technical features of the piece will awaken a corresponding movement in the intellect and in the technical
power of the performer, to give them life and expression. The soul of the piece lies in its leading thought ; its
structure or outward form is displayed in the time and the rhythmical expression ; its warm blood is represented in
the ready and fluent musical life that circulates through it ; its nerves are shown in those particular expressive
lights and shadows, those innumerable accents which are necessary to give the proper expression to harmony,
melody, and rhythm. Thus we see that there is, in a good piece, a real life like that of the performer, and that it
is absolutely necessary for an adequate interpretation of a master-work that the performer should possess high and
varied qualities."
Mozart said in his quaint manner: "three things are necessary for a good performer;" and he pointed
significantly to his head, to his heart, and to the tips of liis fingers as symbolical of understanding, sympathy, and
technical readiness. And truly Mozart was right ; intellect, feeling, and technical execution must be united if a really
good performance is to be the result ; if the technical execution is guided by the intellect and warmed by the feeling,
the key-board will cease to be merely a dead and cold mechanical contrivance. By the warm touch of the finger the
key must, as it were, be transformed into the t6ne itself; and not the keys, but the tones they produce must be felt by
the player. The touch of the finger represents the intellectuality at whose command the tone springs forth at the
( 76 )
performer's will ; soft, hard, shrill, mellow, tender, subdued, massive, smooth, quiet, trembling, according to
the changing phases of the work which has to be rendered. The electric or magnetic fluid of our intellectua
capabilities must act uninterruptedly and immediately on our fingers, and for this most important reason too great
an amount of attention cannot be devoted to the effectual and systematic training and development of our technical
execution.
Schumann says, with truth, " Of learning there is no end ; " and everyone who loves pianoforte-playing
not for mere amusement or pastime's sake will agree with that intelligent composer. " To enlist the most finished
technical execution in the service of the finest composition " should be not only our motto, but also our continual
effort. The great composers have left us a rich legacy in their unsurpassably fine works. Let us show that we
duly appreciate their liberality, and let us testify our gratitude by devoting our best energies and capabilities to the
realisation of their noble ideas. Schiller says
" Earnest is life, and cheerful still is art."
And we may without presumption paraphrase this sentiment; and say in conclusion
" If in thine art thy striving be but true.
Thy life shall surely be made cheerful too."
APPENDIX.
THE PIANOFORTE AND ITS PREDECESSORS.
THE instruments that may be considered as the forerunners of the pianoforte were the clavichord, the clavicytherium, the
virginal, the harpsichord, and the spinet. The names clavicembalo, cembalo, clavecin, clavicymbel are Italian, French, and
German expressions equivalent to Kielflugel (quill-wing), the wing-shaped harpsichord. There is no evidence to place the
invention of the clavichord before that of the harpsichord, or vice versa 4 . Both appear early in the fifteenth century, and not
before. During the epoch of the Tudors there is, in various records, frequent mention of these instruments and also of the
virginals, as this name was generally written. In Italy, the Netherlands, France, and Germany there is contemporan
mention of them, together with the spinet, which scarcely differed from the virginal. Reference to the clavicytherium
is more rare ; but from description we learn that it was an upright harpsichord, a likeness to which can be traced
at least approximately in the upright grand pianoforte made in the early years of this century. The pretty Jacobean or
Queen Anne spinet was purely English, and was a short harpsichord, just as a boudoir grand is a short grand piano, but with
a modification of outline that gave it a graceful instead of a dumpy appearance. In all the harpsichord family the method of
production of the tone and effect was identical ; the amount of tone only varying with the number of strings brought into use,
and the capacity of the sound-board of each instrument.
HANDEL'S HARPSICHORD.
A "PAIR OF VIRGINALS."
QUEEN ANNE SPINET.
These illustrations represent the harpsichord, the virginal, and a Jacobean spinet ; the two former being drawn from
instruments in the South Kensington Museum, the last from an instrument in the possession of the eminent pianoforte-makers,
Messrs. John Broadwood and Sons.
Like the pianoforte, harpsichords and clavichords have wire strings, sound-boards, and keys or levers that
raise the contrivance by which the strings are made to vibrate. The harpsichord and spinet family accomplish
this by means of a mechanical plectrum called a "jack." The drawing represents one, with the wooden upright,
the projection of crowquill to twang the string in passing upward to make it vibrate, and the little cloth damper
to stop the vibration when the jack is lowered, as the key returns to its state of rest.
The clavichord was made to give forth music by an even simpler contrivance, the tone-producer being
nothing more than a little brass upright fastened into the key, almost a pin, which pressed against the string
when the key was lowered, and set it in vibration from the point of contact to the bridge on the sound-board.
The back portion of the string was rendered mute through the interweaving of a cloth that prevented its
vibrating also. Necessarily the tone was very feeble, but it was expressive ; and the clavichord was Bach's
favourite instrument for study. His second son, Carl Philipp Emanuel, was a much esteemed performer
on it. The use of the clavichord in Germany only went out when the older instrument was superseded by the
square pianoforte, which, while it had the same shape and appearance, possessed extended means of effect
and very much more power. Besides, the square piano had not the disadvantage under which the clavichord
laboured, that of being played out of tune by too much pressure on the keys.
The German name for the clavichord, Clavier, became transferred to its successor the square
pianoforte, and indeed was used to express any keyed stringed instrument ; while the name Fliigel, which
had designated the harpsichord, became similarly transferred to the grand pianoforte.
VIRGINAL AND
HARPSICHORD
JACK.
(78)
The harpsichord was inexpressive and incapable of accent. To remedy these defects, many graces in varieties of
the gruppetto, appoggiatura, and shake were freely employed to preserve the plastic contour of the melody. The most
celebrated makers of the harpsichord were the Riickers family of Antwerp, about A.D. 1600 1650, and later the rival Swiss
makers, Shudi (properly Tschudi) and Kirkman, about 1730 1770, in London, whose instruments were larger and more powerful
than the Antwerp harpsichords.
The first pianofortes were made at the beginning of the eighteenth century by Bartolommeo Cristofori, a Paduan
harpsichord-maker attached to the Court in Florence. In the year 1711 he had already made four. Cristofori called his
invention " graviccmbalo col piano e forte." In 1716 one Marius submitted in Paris models for a pianoforte that were, however,
of no practical value. Turning to Germany, where the pianoforte was afterwards developed by Gottfried Silbermann, we
find Christoph Gottlieb Schrbter in 1721 submitting two models for pianoforte-hammer actions to the Elector of Saxony, one
of which is said to have come into the hands of the said Silbermann, who was a famous organ-builder at Freiberg in Saxony,
and who manufactured a pianoforte, somewhere about 1726. However, these instruments were far from competing with the
harpsichords then made, as, subsequent to this, Frederick the Great, who had patronised Silbermann for pianofortes, had two
harpsichords from Tschudi (the founder of the Broadwood house) in London ; these are still in the new Palace at Potsdam. It
as Stein of Augsburg who brought the pianoforte up to the requirements of Mozart; and Mozart entirely adopted it for his
<eyed-instrument compositions.
About 1766, some German workmen came to London to make pianofortes, traditionally twelve in number, whence they
were remembered in the workshops as the Twelve Apostles. Two of these workmen made a reputation Zumpe and Pohlmann.
Some of their little square pianos are still existing. One by Zumpe, dated 1766, that belonged to Sir George Smart, has
enharmonic notes, that is, keys for the sharps as well as for the flats ; thus dividing the octave into seventeen instead of the
usual chromatic twelve.
Soon after this, Americus Backers, assisted by John Broadwood (Tschudi's son-in-law and successor) and Robert
Stodart, devoting their skill to the new instrument, made the first grand pianofortes in this country; while Muzio Clementi,
divining with the instinct of genius its character, differing from that of the harpsichord, established that fame as a pianist
that gave him his position as the Father of Pianoforte-playing. France was at first supplied from England with pianofortes,
but was soon relieved from that dependence by the mechanical talent of Sebastian Erard, an Alsatian, in fact a German, as
were Pleyel, Roller, and other eminent Parisian makers.
The extension of the compass in keyed stringed instruments has gone on step by step with their enlargement, and the
successive additions to their strength. The earliest clavichords and clavecins had no more than three or three and a half
o.taves, several keys in the clavichord often directing their tangents to a single string. These were designated as gebiiinlen
(bound). About the beginning of the eighteenth century they were made bundfrei (bond-free), with a key to each string,
and such a clavichord John Sebastian Bach had. Examination of his clavichord works shows that he had about iour octaves
C :-
t command, from 3 I to i(jfr : But even then spinets were made in England with five octaves. Mozart's
c T ^ +.
pianoforte had five octaves "^ to
and dementi's had no more till about 1793, when five and a half octaves
F 5
were gained by going up to the next C. In 1796 appeared the first piano with six octaves, from -@jrz " to
8ua.
and this compass was that of the grand pianoforte given by Messrs. Broadwood to Beethoven in 1817, the one he used for the
rest of his life. The general introduction of a six-octave compass, whether from C to C or F to F, was not until 1811, when the
BIX and a half octave compass also came in. The gradual extension to seven octaves by G, and then A, upwards, and to the
lowest A downwards, was not everywhere completed until 1851. Since then, an extension to a yet higher C has been added by
some makers; but the extreme notes of the scale at either end have so little musical value that the cost is not repaid by the
result. Now as to the pedals, the square pianos of Zumpe (17661767) had register-stops next the left hand, by which the
dampers could be raised in two portions. Mozart, in his correspondence, described Stein's piano as having these stops placed
to be worked by the performer's knees. Pedals for the feet were used in harpsichords to combine stops, anterior to 1780 ;
but the pianoforte pedals as now used, were introduced in 1783. The dampers, or sordini, were long divided into two
parts, the damper pedal-foot being cleft, that pressure on either half should raise the corresponding half of the dampers.
When a shifting soft pedal was introduced, it was arranged that it should shift the hammers from contact with three strings
to two strings, and ultimately to one string, at the pleasure of the performer ; indications for which exist in some of Beethoven's
Sonatas (see Op. 101). Before the pianoforte gained much power, attempts were made to combine it with the harpsichord and
organ, and pedals were added to attach a drum or bell, a lute stop, or the imitation of a bassoon ; but these appliances were
all too insignificant in musical value to last, or deserve more now than passing mention.
VOCABULARY
OF
TECHNICAL TERMS AND EXPRESSIONS
CONNECTED WITH THE
PIANOFORTE.
The following abbreviations are used: En. (English), Fr. (French), Ger. (German), Gr, (Greek), //. (Italian), Lat. (Latin),
Pol. (Polish), S^. (Spanish).
With despondency self-abandonment.
An accompaniment.
(It.) Very slow.
Abbandonasi
Abbandono, con
Abbreviature (It.) Abbreviations.
A capriccio (It.) At will ; according to our fancy.
Accelerando (It.) Gradually increasing in velocity or quickness,
of time.
Acciaccatura (It.) From acciaccare, to crush, to quash. A kind
of arpeggio, formerly used in clavier and organ music.
Accompagnamento (It.)}
Accompagnement (Fr.) j
Accord (Fr.) A chord.
Accordare (It.) To tune.
Achtelnote (Ger.) A quaver.
Adagio (It.) From adagiare, to rest; a very slow degree of
movement.
Adagio assai
moltoj
cantabile. Very slow and in a singing style.
patetico. Slow, with pathetic expression.
sostenuto. A sustained slow degree of time.
Adagissimo (It.) Exceedingly slow. This term is but rarely used.
Ad libitum (Lat.) At will ; at discretion.
A due (It.) For two voices. (See, for example, Mendelssohn's
" Songs without Words," No. 32.)
A dur (Ger.) The key of A major.
Affetto, con |
Affettuosamente [(/<.) With tenderness and pathetic feelinfj.
Affettuoso J
Affrettando
Affrettate
Agilita, con (It.) With lightness and agility.
Agitato (It.) With agitation.
Agrements (Fr.) The graces, embellishments.
Air (Fr.) An air or song.
Ais (Ger.) A^.
Al
Air
Alia
Allo,
Albumblatter (Ger.) Album leaves ; short pieces.
Alia breve (It.) A quick kind of common time.
marcia. In the style of a march.
.
(It.) Accelerating, increasing the time.
(It.) To the, or in the style of.
Alia polacca. In the style of a polonaise. (See Weber's Variations,
" Vieni, Dorina bella.")
Tedesca. In the style of a German slow valse. (See Beethoven's
Variations, " La Stessa.")
Turca. In the Turkish style. (Mozart's A minor Sonata.)
zoppa. In a constrained and limping style.
All' antico (It.) In the ancient style. (See Hummel's Op. 106.)
Espagnuola. In the Spanish style. (See Spohr's Duet for
Piano and Violin.)
Inglese. In the English style.
Italiana. In the Italian style.
Allegramente (It.) With quickness, with cheerfulness.
Allegretto (It.) Quick, but less quick than allegro.
Allegretto scherzando (It.) Moderately playful.
Allegrezza (It.) Joy ; con allegrezza, with joy.
Allegrissimo (It.) Extremely quick.
Allegro (It.) Cheerful, joyful ; therefore lively, quick.
Allegro agitato (It.) Brisk, with agitation.
assai. Very quick.
comodo. Comfortably, conveniently quick.
con brio. Quick, with brilliancy.
con fuoco. Quick, with fire and energy.
con moto. Quick, with a good deal of movement.
con spirito. Quick, with spirit.
di bravura. Quick, with dashing and brilliant execution.
furioso. Quick, with fury.
grazioso. Quick, but graceful.
ma non presto.
ma non troppo.
molto. Very quick.
veloce. Quick, with rapidity.
vivace. With vivacity.
vivo. Quick, with briskness and animation.
Allemande (Fr.) The German dance movement used in Suites and
Partitas. Common time.
All' improvvista (It.) In an extemporaneous manner.
AH' ottava (It.) In the octave.
Al rigore di tempo (It.) In strict time.
Al segno (It.) From the sign ; mostly JJ Generally to be found
in minuets or scherzos, in order to save unnecessary en-
graving. (See, for example, Beethoven's Sonata, Op. 14-
No. i.)
Quick, but not to excess.
( 8o)
Other.
Alta (It.) Higher. Ottava alta, an octave higher, : -enerally marked
thus 8"
Alternative (It.) Alternating. (Set Bach's " English Suite," 2 and 3.)
Altral
Altro]
Amabile j
Amabiliti, con)
A mezza voce (It.) In a subdued tone.
A moll (Ger.) A minor.
Amore, con
In an affectionate, tender manner.
With amiability. (S Beethoven's Op. no.)
(It.)
Amorevole
Araorosamcntf
Amoroso
Anacreontico (It.) In the Bacchanalian style ; sometimes for
drinking songs.
Ancora (//.) Again ; once more.
Andante (It.) From andare, to walk. Means a soft and quiet move-
ment, which must, however, not be dragging.
Andante affettuoso (It.) Slow, but with pathetic expression.
cantabile. Slow, in a singing style.
con moto. Slow, with a certain movement.
grazioso. Slow, with a graceful expression.
^ maestoso. Slow, with majesty.
^ non troppo. Slow, but not too much so.
pastorale. Slow, with a simple, natural, or pastoral
expression.
Andactino (It.) Really slower than Andante, although the term is
generally used for " quicker than Andante."
Anfang (Ger.) The beginning.
Anglaise (Fr.) The tune, in an English style, used in country-
dances and in some suites. Matheson divides the Anglaises'
into (i) country dances, (2) ballads, and (3) hornpipes. (See
his " Volkommener Capellmeister," page 299.)
Anhang (Ger.) A supplement.
Anima, conj
Animato [ (It.) In a spirited, animated manner.
Animoso )
Anschlag (Ger.) The touch.
Antico, all' (It.) In the ancient style.
A piacere (It.) At the pleasure of the performer ; the same as ad
libitum.
A poco a poco (It.) By degrees ; by little and little.
Appassionato (It.) With passionate, intense feeling.
Applicatur (Ger.) The fingering.
Appoggiato (It.) Dwelt on. (See, for a good example, Thalberg's
Fantasia on " Don Pasquale.")
Appoggiatura (It.) From appoggiare, to support, to lean on. A
note of embellishment.
A quatre mains (Fr.)
A quattro mani (//.)
Arabeske (Ger.) A celebrated fancy-piece by Robert Schumann, in
which he imitates the delicate design of an Arabesque, by
surrounding two Minores with the same movement.
Ardito (It.) With boldness.
Aria (It.) An air or song.
Arietta (//.) A little air or melody.
Armonioso (It,) Harmoniously.
For four hands.
Arpeggiando \
Arpeggiato [(It.) In a broken manner, imitating the harp.
Arpeggio j
Articolato (It.) Well pronounced and accented.
As (Ger.) The key of A flat ; As dur, A flat major; As moll, A flat
minor.
Assai (It.) Very, extremely. (See Allegro assai, &c.)
A tempo (It.) In time. The term is generally used after rallen-
tando or accelerando, meaning to take up the former strict
movement.
A tempo giusto (It.) In strict and even time.
A tempo ordinario (It.) In a moderate, ordinary time.
Attacca ) (It.) Means that the following movement ought
Attacca subitoj to commence immediately.
Aubade (Fr.) From I'aube dujour. A morning music of soft and
agreeable character. Aubade, for morning-music ; Serenade
for evening-music.
Aufschlag (Ger.) The unaccented part of a bar.
A una corda (It.) On one string ; with the soft pedal.
Ave Maria (Lat.) A hymn to the Virgin.
A vista (It.) At sight.
Ballade (Fr.)
Ballata (It.) '
Ballabile (It.) A piece of dance-music used in ballets.
I A short, popular song ; means also a piece with a
romantic expression, such as Chopin's Ops. 23, 38,
47. 52-
Ballo (It.) A dance-tune. (See Scarlatti's " Tempo di Ballo.")
Barcarola (It.) From barca, a bark ; the song of a boatman or
fisherman ; also the songs of the Venetian gondoliers.
Barocco (It.) | Applied to music of a confused or strange, eccentric
Baroque (Fr.)) style.
Bassa (It.) Low ; ottava bassa, generally designated 8^ bassa,
which sign stands under the notes, and means to play the
notes, passage, or figure one octave lowe r . Con 8<"> bassa
implies to add the lower octave.
Basso continuo )
\ (It.) The continued bass.
Basso ostmato I
Bass-SchlUssel (Ger.) The bass clef.
B dur (Ger.) The key of B flat major.
Begeisterung, mit (Ger.) With enthusiasm.
Begleitung (Ger.) The accompaniment.
B<5mol (Fr.) The sign fr.
Ben (It.) Well ; such as ben sostenuto, well sustained ; ben marcato,
well marked, &c.
Berceuse (Fr.) A cradle-song.
Bianca (//.) A minim.
Bindung (Ger.) A syncopation.
-.-
Bis (Lat.) Twice ; for example
that these two bars have to be played twice over.
Bizzarro (It.) See Barocco.
Blanche (Fr.) A minim.
Blumenstuck (Ger.) A title of one of Schumann's most charming
pieces ; means literally " a flower-piece."
B moll (Ger.) The key of B flat minor.
Bolero (S/>.) From volero, to fly i a Spanish dance in J time.
Bourree (Fr.) From the Spanish borea ; a dance in common time,
beginning with the fourth or unaccented part. It is really
a hornpipe or sailor's dance.
Boutade (Fr.) An old caprice, or fantasia.
Branle (Fr.) \
Bransle (Fr.) [ An old dance-tune.
Brawl (En.) )
Bratsche (Ger.) The tenor violin.
Bravura (It.) Spirit, brilliant execution, and velocity.
Brillante (Fr. & It.) Brilliant, showy, sparkling.
Bxio \
Brio, con I (It.) With brilliancy and animation.
Brioso J
Broderies (Fr.) Embellishments, graces.
Burlando (It.) In a jesting, comic manner.
Burlesca (It.) With a farcical, highly comical humour.
Cabaletta (It.) A simple, pleasing, short melody.
Cadence (Fr. & En.)
Cadenza (It.)
duction or supplement of brilliant, fanciful
passages ; if well constructed, it might be
called a summary of the entire movement.
Calando (It.) Becoming softer and slower.
Calmato (/(.) With a tranquil and reposing expression.
Calore, con (It.) With warmth of feeling.
Campanella (It.) A little bell.
Canaries (Fr.) The French Gigues. (See Gigue.)
Canone (It.) A piece consisting of uninterrupted imitations.
Cantabile (//.) In a singing style.
Cantilena (It.) The melody ; the air.
Canto fermo (It.) A chant or melody which is used as the principal
theme, and remains unchanged.
Canzbna (It.) An air in two or three parts. (See, for example, the
works of Girolamo Frescobaldi.)
Canzonetta (//.) A short air.
Capellmeister (Ger.) The conductor of an orchestra and chorus.
Capriccietto (It.) A short capriccio.
Capriccio (It.) Literally a whim, a caprice; a fanciful, sometimes
irregularly constructed piece.
Caprice (Fr.) See Capriccio.
Carezzando (It.) In a caressing, insinuating style.
Caricato (It.) In an exaggerated style.
Carilloneur (Fr.) The performer on the carillons or chimes.
Carillons (Fr.) The chimes or bells ; also the name of the airs
adapted for the chimes.
Cassazione (It.) A kind of divertimento played by wind-instru-
ments in the open air, generally in the evening. Mozart's
Cassaziones have been transcribed for the piano.
Cavatina (It.) An aria, or part of an aria ; sometimes following a
recitative.
C dui (Ger.) The key of C major.
Celerita, con (It.) With velocity.
Cembalo (It.) The harpsichord.
Ces (Ger.) C Hat.
Chacone (/..) ) An obsolete dance movement in J time ; generally
Chaconne (Fr.) ) combined with variations. (Compare the works of
Ciaccona (It.) J Bach and Handel.) See Primer, " Forms in Musir "
Chalumeau (Fr.) An ancient flute of the shepherds ; also used for
a Ranz des Vaches, or herdsman's song.
Chanson (Fr.) A song.
Chasse (Fr.) A hunting piece.
Chiarezza, con (It.) With clearness.
Chiroplast (Gr.) A guide for the hand in pianoforte-playing, in-
vented and used by Logier. Kalkbrenner used a similai
application, which he called Manual Guide.
Chitarra (It.) The guitar.
Chromatic (Gr.) Proceeding by semitones.
Cis(Gr.) C sharp; Cis dur(C sharp major) ; CismollfC sharp minor).
Cither (En.) An instrument with wire strings, used in the Tyrol
and Bavaria.
Claviatur (Ger.) The key-board.
Clarichord (En.)
Clavecin (Fr.)
Clavicembalo (It.) ^ See Appendix.
Clavichord (En.)
Clavier (Ger. & Fr.)
Clavierstuck (Ger.) A piece for the pianoforte.
Clochette (Fr.) A little bell, the same as Campanella.
C moll (Ger.) The key of C minor.
Coda (It.) Literally the tail ; a supplement at the end of a com-
position.
Coi (It. plural) )
Col (It. singular)) Wlth-
Colla parte (It.) Following the principal part.
Come (It.) As. Come prima, as before ; come sopra, as above, or
before ; come sta, as it stands.
Composto (It.) Composed ; quietly.
Con (It.) With; such as, con anima, with animation; con expression*,
with feeling ; con passione, with passionate feeling ; &c.
Concertante (It.) A piece of music for several instruments, in
which these perform occasional solo parts.
Concertino (It.) A short concerto.
Concerto (It.) A piece in which a solo instrument takes a leading
part, and is merely accompanied by other instruments.
Concertstuck (Ger.) A short concerto. (Compare, for example.
Weber's and Schumann's works of this kind.)
Consolante (It.) In a consoling manner.
Continuato (It.) Sustained, held down.
Cotillon (Fr.) A cheerful dance in f or f time.
Coule (Fr.) Two notes connected by a slur. (Compare Couperin's
and Rameau's works.)
Corant (En.)
Corrente (It.)
Courante (Fr.)
Cracoviak (Pol.) ) A Polish dance in f time that came from
Cracovienne (Fr.)) Cracow.
Crescendo (It.) Increasing the tone.
Croche (Fr.) A quaver.
Da capo (/(.) From the top ; from the beginning. For instance,
M. D. C. means Minuetto da capo, or to play the minuet
again after the trio.
Davidsbiindler (Ger.) The title of Schumann's pieces, Op. 6. (Reid
the explanation of the t.lle in the Preface to that work.)
D dur <Ger.) D major.
An old dance tune in J or J time, following the
Allemande in the Suites.
(82)
) }
Fr.)l
A diversion.
Decrescendo (It.) Decreasing or diminishing the tone.
Delicatamente)
V (It.) Delicately.
Delicato J l
Delicatezza, con (It.) With delicacy.
Delicatissimo (It.) With great delicacy.
Des dur (Ger.) D flat major.
DCS moll (Ger.) D flat minor.
Destra (It.) ]
The right hand.
Dextra (Lot.))
Dieze (Fr.) The sign $.
Diminuendo (It.) Gradually diminishing.
Di molto (//.) Augments the significance of the other word such as
Allegro di molto, very quick, instead of quick.
Dis dur (Ger.) D sharp major.
Dis moll (Ger.) D sharp minor.
Dilhyrambe (Gtr.) A dithyrambus or lyrical composition in
honour of Bacchus. In pianoforte music we have six
pieces called " Dithyramben " by W. Tomaschek.
Divertimento (It.)
Divertissement (Fi
Divoto (It.) With devout feeling.
D moll (Ger.) D minor.
Dolce (It.) Softly, sweetly.
Dolcezza, con (It.) With'softness, with sweetness.
Dolcissimo (It.) With extreme softness.
Dolente i
Dolore, con
Dolorosamente
Doloroso
Dopo (It.) After.
Doppelschlag (Ger.) A trifle.
Doppio (It.) Double; as, doppio movimento, double time, as fast
again ; doppio tempo, double time.
Double (Fr.) A variation. (See Handel's " Suites.")
Doux (Fr.) Softly. The same as the Italian dolce.
Drammatico (It.) In a dramatic style.
Due corde (It.) With the soft pedal.
Due volte (//.) Twice.
Duet. A composition for two voices or instruments, or for two
performers upon one instrument.
Duolo, con (It.) See Dolente.
Dur (Ger.) The major key.
Duramente "\
Durezza, con [(//.) Hard, harsh, dry.
Duro J
Echo (Fr.) An imitation of a previous passage. (See Sebastian
Bach's " Echo, in B minor.")
Eclogue (Fr.) A shepherd's song; a pastoral piece. (See Stephen
Heller's and Tomaschek's Eclogues.)
Ecossaise (Fr.) A dance in | time in the Scotch style. (See, for
instance, Franz Schubert's " Ecossaises.")
E dur (Ger.) E major.
}(It.) Evenly, smoothly.
Egualmente)
(//.) Sorrowfully, with a pathetic expression.
| n f ang }(Ger.) An introduction
Einleitung)
Eis (Ger.) E sharp.
Elegantemente)
\ (It.) With elegance and grace
Eleganza, con ) v
Elegie (Fr.) A composition of a mournful and commemorative character.
E moll (Ger.) E minor.
Empfindung, mit (Ger.) With feeling, with expression.
Energia, con j
Energicamente [ (It.) With energy, with fire.
Energico
Entrata (It.) An introduction.
Epinette (Fr.) A spinet. (See Appendix.)
Epithalamium (Gr.) A nuptial song. (See Wagner's " Lol^-i
grin.")
E poi (It.) And then : e poi la coda, and then the coda.
Erotique (Fr.) Amatory : chanson crotique, a love-song.
Es dur (Ger.) E flat major.
Esercizj (It. plural) Exercises.
Es moll (Ger.) E fiat minor.
Espressione, con]
(It.) With expression.
Espressivo
Estinguendo)
Estinto j
Etude (Fr.) A study.
Euphony (Gr.) Sweetness ; harmony of sound.
Extempore (/<.) Unprepared ; impromptu.
Facilita (It.) )
_ .,.,,_ .f An easier arrangement.
FacUite (Fr.)j
Fagotto, Pedale di (It.) An obsolete pedal of the piano, used
between 1800 1820. (See A. E. Miiller's " Caprice in C
minor.")
Fandango (Sp.) An elegant dance in f time, very like the Bolero.
Fanfare (Fr.) A march movement, in which the sound of trumpets
is imitated.
Fantaisie (Fr.) A composition in which the author does not follow
strict and set rules.
Fantasia (It.) (See Bach's " Fantasia Cromatica," Mozart's four
Fantasias, Beethoven's Op. 77, Hummel's Op. 18, Men
delssohn's Op. 28, Schumann's Op. 17.)
Fantastico (It.) )
[ Fantastic.
Fantastique (Fr.))
F dur (Ger.) F major.
Fermamente)
f (It.) With firmness.
Fermato j v
Fermata (It.) A pause.
Ferocita, con^
Feroce }
Fes (Ger.) F flat.
Fieramente
Fiero
' fierceneBS -
With
With boldness and vehemence.
Figurato (It.)) _,. , ,
, ._ . f Figured ; basso fgurato, a figured bass.
Figure (Fr.) j
Fin (Fr.) The end.
Finale (It.) The last movement of a cyclical composition.
Fine (//.) The end.
Fingersatz (Ger.) The fingering.
Vis (Ger.) F sharp; Fis dur, F sharp major; Fis moll, F
minor; Fis Fis or Doppel Fis, F double sharp.
(8 3 )
Flebile )
\(It.) In a mournful style.
Flebilmente) v
Flugel (Ger.) A harpsichord. (See Appendix.)
F moll (Ger.) F minor.
Folia (Sp.) A Spanish dance-tune. (See Corelli's " Police
d'Espagne."}
Forte (It.) Loud.
Fortement (Fr.) Loud.
Fortissimo (It.) Very loud.
Fortsetzung (Ger.) A continuation.
Forza, con (It.) With force.
Forzando, Sforzando, or Rinsforzando (It.) Emphasifing one
particular note.
Freddamente (It.) With coldness.
Fuga (It.) A fugue. Fuga dopfia, a double fugue ; fugato, in the style
of a fugue \fughetta, a short fugue. (See " Musical Forms.")
Funebre (It.) }
Funebre (Fr.) > Funeral. Marcia fttnebre, a funeral march.
Funereo (It.) )
Fuoco, con (It.) With fire.
Furia, con]
Furioso
1 j (It.) Wi
With extreme vehemence.
Gaily, cheerfully.
Gai (Fr.)
Gaiement (Fr.)
Gajo (It.)
Gagliarda (It.))
> An old dance-tune, in triple time.
Gaillarde (Fr.))
Galantemente (It.) Gallantly, boldly.
Galopade(Fr.)1
Galopp (Ger.) I A lively dance, in j time.
Galoppe (Fr.) j
Gamme (Fr.) The scale.
Garbo, con (It.) With simplicity. (See Hummel 's " Notturno,"
Op. 99.)
Gauche (Fr.) Left ; as main gauche, left hand.
Gavotta (//.) "(A French dance, in common time. (See bach,
Gavotte (Fr.) J Handel, Rameau, Gluck, Corelli, &c.)
G dur (Ger.) G major.
Gebunden (Ger.) Connected, bound, sustained.
Gefuhl, mil (Ger.) With expression and feeling.
Gehend (Ger.) See Andante.
Generalbass (Ger.) Thorough-bass.
Genre (Fr.) Style.
Gentilezza, con (/(.) With elegance, gentleness.
Gesang (Ger.) The art of singing ; singing, generally.
Geschwind (Ger.) Quick.
Geschwindmarsch (Ger.) A quick march ; a quick step.
Ges dur (Ger.) G flat major.
Ges moll (Ger.) G flat minor.
Giga (It.) ) A jig, a lively dance in f time. (See Handel's,
Gigue (Fr. & Ger.)) Bach's " Suites," &c.)
Giocosamente\
Giocoso V
Giojoso ;
Gis dur (Ger.) G sharp major.
Gis moll (Ger.) G sharp minor.
,,
(/(.) Humorously, joyously. (See Mendelssonn s
'
Op. 43.)
Giustamente (It.) Justly, with precision.
Giusto (It.) Precise.
Glissando (It.)\
_.. [In a gliding manner. (See V\ eber's "Concert-
GlisIteatoV)) Stikk -" )
G moll (Ger.) G minor.
Gondoliera (It.) The song of the Venetian boatmen.
Graces. Agrements, manners, Galanterien. Embellishments and
ornaments formerly used in clavecin music ; they consisted
principally of trills, turns, shakes, appoggiaturas, acciacca-
turas, &c.
Grande 1
} (It.) Great, grand.
Grandiose)
Grave )
Gravemente) ( ' With A '^ n ' lt y< &***> earnestness.
Grazia, con \
Graziosamente L (It.) In a graceful style.
Grazioso J
Grosse Senate (Ger.) A grand sonata.
Gruppetto)
\(If.) A turn.
Gruppo I
Guaracha (Sf>.) A Spanish dance in j time. (See Auber's ballet
music in " La Muette de Portici.")
Guerriero (It.) In a martial style.
Gusto, con)
f (It.) With taste ; with elegance.
Gustoso
H. This letter is in Germany used for B H dur, B major ; H molJ,
B minor.
Hackbrett (Ger.) Really the dulcimer, but also applied to designate
a worn-out and poor-toned pianoforte.
Hand-guide. See Chiroplast.
Hardiment (Fr.) With boldness.
Harpsichord. A keyed instrument used before the ins-ention of the
pianoforte. (See Appendix.)
Hexameron. A collective work of Variations by Liszt, Chopin,
Herz, Thalberg, Czerny, and Pixis.
His (Ger.) B sharp.
Hochzeitsmarsch (Ger.) Wedding march.
Homophony (Gr.) In unison ; one-toned.
Hornpipe (En.) An old dance-tune, mostly used by sailors. (Set
Bourre'e.)
Humoreske (Ger.) A piece of great beauty by Robert Schumann,
Op. 20.
Hurtig (Ger.) Quick.
Idylle (Fr.) An idyll, or pastoral piece.
Imitando (It.) Imitating.
Impeto, con i
Impetuosamente
Impetuosita, con
Impetuoso
Impromptu (Fr.) An extemporaneous production. (See Schubert's
Ops. 90, 142 ; Chopin's Ops. 29, 36; Schumann's Op. 5,
&c.)
Improvvisamente (It.) Extemporaneously.
Indeciso (It.) Undecided.
(//.) With impetuosity.
( 8 4 )
| An intermediate piece.
Infernale (//.) Infernal.
Innocente \
Innocentemente L (It.) In an artless and simple manner.
Innocenza, con I
Insensibilmente (It.) Insensibly. Mostly used for rallentandos.
Interlude (En.)
Interludium (Lat.)
Intermezzo (It.) Placed between. A piece that comes between
two principal or more important pieces as a relief. Also
used in lieu of a scherzo.
Intrada (It.) Introduction.
Intrepidarnente (It.) With intrepidity.
Invocazione (It.) A prayer ; an invocation. (See Dussek, p. 77.)
Irresolute (It.) Hesitatingly ; irresolutely ; with the expression of
doubt.
Istesso (It.) The same; I' istesso tempo, the same time.
Jagerchor (Ger.) A hunting chorus.
Kammer (Ger.) Chamber.
Kammermusik (Ger.) Chamber music.
Kammervirtuos (Ger.) The principal solo performer of a royal
or imperial court.
Kapellmeister (Ger.) See Capellmeister.
Keckheit, mit (Ger.) With boldness.
Kirchenmusik (Ger.) Church-music.
Klang (Ger.) Sound.
Kreisleriana. The title of seven pianoforte pieces by Robert
Schumann, Op. 16, suggested by a novel of E. T. A.
Hoffmann.
Kreuz (Ger.) A sharp.
Kurz (Ger.) Short.
La Chasse (Fr.) A hunting piece.
Lacrimoso)
Lagrimoso ) (/ ' -) In a raournfu1 ' melancholy style.
Lamentabile ,
Lamentabilmente
Lamentando
Lamentevole
Lamentevolmente
Lamentoso
Landler (Ger.) A slow valse or rustic dance. (See Beethoven and
Schubert.)
Langsam (Ger.) Slowly.
Languido (//.) With languor.
Largamente
Larghezza, con]
Larghetto (It.) A slow time ; but not so slow as Largo.
Larghissirao (It.) Extremely slow.
Largo (It.) Very slow and solemn.
Lauf(G<rr.) A scale.
Lebhaft (Ger.) With vivacity.
Lecon (Fr.) A lesson, a study.
Legatissimo (//.) Very smooth and connected.
Legato (It.) From legare, to bind ; connected and gmoothly.
Leggieramente (/*.) Lightly, gently.
(It.) In a plaintive, mournful manner.
o
Q J (//.) With a full, broad expression.
Leggierezza, con
(It.) With lightness and facility of execution.
Leggiero
Leggierissiao (It.) Extremely light.
Leicht (Ger.) Easy.
Lentando (It.) With increasing slowness
Lentement (Fr.) \
Lentemente (It.) L In slow time.
Lento (It.)
Leziosamente (It.) Affectedly.
L. H. indicates the left hand in music
Li6 (Fr.) See Legato.
Lobgesang (Ger.) A hymn of praise.
Loco (It.) In the original place. The word comes generally after
8 a alta, or 8" bassa.
Loure (Fr.) A slow gigue.
Lugubre (It. & Fr.) Mournfully, sadly.
Lunga pausa (//.) A long pause.
Lusingando (It.} Soothingly, persuasively, insinuating, caressing.
Majestically.
Maesta, con)
Maestoso J
Maggiore (It.))
._ . I The major key.
Majeur (Fr.) )
Main (Fr.) The hand.
Main droite (Fr.) Right hand.
Main gauche (Fr.) Left hand.
Malinconia ) , . .... ,
\ (It.) With a melancholy expression.
Malinconicoj
Mancando (It.) See Diminuendo.
Mano (It.) The hand.
Mano destra or dritta (It.) The right hand.
Mano sinistra (It.) The left hand.
Marcato (It.) Well marked.
Marche (Fr.) \
Marcia (It.) ! A march.
Marsch (Ger.))
Martellato (It.) Hammered.
Marziale (It.) In a martial style.
Massig (Ger.) In a moderate time.
Masur (Ger.) \ A Polish dance in } time, originating from
Masureck (Pol.) [ the district of Massovia, in the former king-
Mazurka (Ger.) I dom of Poland.
Melange (Fr.) A medley; like Potpourri.
[ (If.) Less ; as meno mosso, less quick.
Meno)
A dance, in f or J time, invented in Poitou
about 1660, is the chief form of dance music applied
in cyclical forms, such as sonatas, quartetts, Ac-
Metronome (Fr.) A mechanical instrument to indicate the time,
invented by Sauveur, of Paris, in the beginning of the
eighteenth century; it was practically and conveniently
constructed in 1816, by Maize], a mechanician from Vienna.
Mezza (It.) Really three hours and a half after evening sets in; in
music it means moderately ; also half, as mezza voce, with
moderate or half (under) voice.
Mineur (Fr.)]
Minore (It.)
Menuet (Fr.)
Minuetto (It.)'
The minor mode.
"|(/<.) Moderately.
Misteriosamento)
] (It.) In a mysterious manner.
Mistenoso )
Moderatamentel
Moderato
Moll (Ger.) The minor mode.
Molto (It.) Very, extremely, as molto adagio, very slow, &c.
Monferina (It.) Dance of the Italian peasants, in f time.
Mofceau (Fr.) A piece.
Mordente (It.) A turn.
Morendo (It.) Dying away.
Mormorando (It.) Murmuring.
Mosso (It.) Movement; as piU mosso, quicker.
Moto, con (It.) With agitation, with movement.
Musetta (It.)
Musette (F,
V.)j Theba SP'P e -
Nachtstiicke (Ger.) Night-visions, four highly interesting piano-
forte pieces by Robert Schumann, Op. 23.
Negligente ^
Negligentemente [ (It.) Negligently.
Negligenza, con J
Nettamente (It.) Neatly.
Nobile )
N h'1 I C') With a noble and grand expression,
Nocturne (Fr.) A piece intended for evening performance. The
piano pieces with this name were first introduced by John
Field (17821837).
Noire (Fr.) A crotchet.
Non (It.) Not; generally preceding another word, such as non
troppo presto, not too fast, &c.
Notturno (It.) See Nocturne.
Obbligato (It.) An instrument, or part of a composition, which is
indispensable and cannot be omitted.
Octett (Ger.) A piece for eight instruments.
Odeon (Gr.) A place for the public performance of music ; also a col-
lection of classical pieces published by Haslinger in Vienna.
CEuvre (Fr.) A work ; (Euvre i, first work, &c.
Ohne (Ger.) Without ; Lied ohne Worte, song without words.
Ondeggiamento (It.) With a waving, tremulous motion of sound.
Ondeggiante (It.) In a waving manner.
Opus (Lat.) Generally written Op. ; a work, such as Beethoven's
Op. 20, Beethoven's twentieth work, &c.
Ordinario (It.) Usual ; a tempo ordinario, in the usual time. (See
Hande''8 Concerto No. 2, in B flat.)
Orgelpunkt (Ger.) An organ-point or pedal-bass.
Ornamenti (It.)
Ornements (Fr.)
Ossia (It.) Or else ; ossia piu facile, or in this easier manner.
Ostinato (It.) Obstinate, persevering ; such as basso ostinato, the
never-changing bass.
Ottava (/(.) The octave.
- alta. The higher octave.
-- bassa. The lower octave.
Ottetto (It.) See Octett.
Ouverture (Fr.
Overture (En.)
'') }
y . Y The graces, embellishments.
a introductorv svmphonv to an opera or
oratorio ; an instrumental piece.
Pantaleone (Fr.) An obsolete pianoforte in the upright form. It
used to be very high.
Papillons (Fr.) Butterflies. The title of Schumann's Op. 2, twelve
short fancy pieces suggesting a Carnival night.
Parlando (It.) In a speaking manner.
Parlante (It.) Accented ; in a declamatory, reciting style.
Partie (Fr.) A part of a composition.
Partita (It.) A kind of suite ; a collection of single pieces. (See
Sebastian Bach's six Partitas.)
Partition (Fr.)
Partitur (Ger.)
Partitura (It.)
Partizione (It.)
Full score.
Passacaglio (It.) '
Passacaille (Fr.)-j
Passagallo (It.)
Passe-pied (Pr.)
v | Pathetically.
A pause or rest for all the
'An old dance movement of similar character to
the Chaconne. It is generally found in } time.
Handel's Passacaille in G minor is in common
time. (See Bach's marvellous Passacaille in
G minor, arranged for four hands.)
An old dance-tune, originally the dance of the
Breton boatmen ; its time is either f or f .
Passionato ) ,
f (It.) Impassioned.
Passione, conj
Pasticcio (It.))
A, ' \ See Melange.
Pastiche (Fr.))
Pastorale )
Pastorella J ( ' ] * P astora1 ' sim P Ie st y le '
Pastourelle (Fr.) A movement in the quadrille.
Patetico (It.)
Pathetique (Fr.) J
Pausa (It.) A rest ; a pause.
Pausa generale (It.), also G.P.
performers.
An antiquated French (Italian ?) dance, in which
the ladies had to spread their dresses in imitation
of the peacock (It., pavont) when spreading its
feathers. According to some writers the Pavane
is a French adaptation from the serious Spanish
i dance, Pava d'Espagna.
Per (It.) For, or by ; per il violino, for the violin.
Perdendo ) ,
j f U'O D y' n g away.
Perdendosi ) *
Pesante (It.) With importance and weight
Pezzo (It.) A piece.
Phantasiestucke (Ger.) Fancy pieces. The title of Robert
Schumann's celebrated eight piano pieces, Op. 12.
Piacere, con (It.) With pleasure.
Piacevole \
Piacevolezza L (It.) In a pleasing, agreeable manner.
Piacevolmentej
Piangendo (It.) Dolefully ; really crying, weeping.
Pianissimo (It.) Generally written as pp. Very softly.
Piano (It.) Softly.
Piano a queue (Fr.) A grand pianoforte.
carre 1 (Fr.) A square pianoforte.
Pietosamente (It.] Pitifully.
Piu (It.) More ; an adverb of augmentation.
Piu tosto (It.) Rather.
Pavan (En.)
Pavana (It.)
Pavane (Fr.)
( 86 )
A Polish dance in moderate time, J, generally
used for court festivities.
(It.) In a hurried manner.
A prelude ; introductory, opening movement.
Placidamente (It.) With placidity, quietly.
Poco (It.) A little; somewhat; rather; poco animate, rather, or a
little animated, &c.
Poco a poco (It.) By degrees ; little by little.
Poggiato (//.) Sit Appoggiato.
Polacca (//.)
Polonaise (Pr.)
Polonoise (Fr.)
Polka (Fr.) From the Bohemian pulka, half; a modern dance in
| time. Invented in 1830 by Anne Slezak.
Pomposo (//.) In a grand and pompous manner.
Possibile (It.) Possible, as, it piu forte possibile, as loud as
possible.
Potpourri (Fr.) A medley. (See Melange.)
Poule (Fr.) One of the movements of a quadrille.
Pralltriller (Ger.) The short trill.
Precipitamente
Precipitato
Precipitazione, con
Precipitoso
Preghiera (It.) A prayer
Preludio (It.) \
Preludium (Lot.) }
Prestamente (It.) Hurriedly, quickly.
Prestezza, con (It.) With quickness, with rapidity.
Prestissimo (It.) The highest degree of quickness.
Presto (It.) Very quick.
Prima vista (It.) At first sight.
Prima volta (It.) The first time.
Pult (Ger.) A desk.
Punkt (Ger.) A dot.
Punktirte Noten (Ger.) Dotted notes.
Pupitre (Fr.) A desk.
Quadrille (Fr.) A set of five consecutive dance movements called
Le Pantalon, L'Ete 1 or Le Pas de 1'Ete 1 , La Poule, La
Trenise or La Pastourelle, and Finale. Its name implies
that four persons are required for dancing it.
Quartett (Ger.) \
Quartetto (//.) I A cyclical composition for four instruments.
Quatuor (Fr.) j
Questo (It.) This.
Quieto (It.) Quietly.
Quintett (Ger.)\
Quintetto (It.) V A cyclical composition for five instruments.
Quintuor (Fr.) )
Quodlibet (Lot.) Really " what you like;" a kind of potpourri or
medley, consisting of a number of different melodies of
diffeient authors.
Raddolcendol
Raddolcente j (// ') Wilh augmented softness.
Rallentando (It.) A gradual diminution of the speed of the move-
ment.
Ranz des Vaches (Fr.) An air played by the Swiss herdsmen on
a pipe, to assemble their herds. (S Rossini's overture to
" William Tell."j
Rapidamente )
\ (It.) Witn rapidity.
Rapidita, con] v
Rapsodie (Fr.) See Rhapsodie.
Ravvivando It.) Reviving, reanimating.
Recht (Ger.) Right ; rechte Hand, ngnt band ; sometimes found
merely as K.H.
Recitando (It.) In the style of a recitative.
Religiosamente)
[ (It.) Religiously, devotionally.
Religiose j
Repetizione (It.) Repetition.
Replica (It.) Repetition ; con replica, with repetition ; senza replica,
without repetition.
Reprise (Fr.) Repetition ; avec reprise, with repetition ; sam
reprise, without repetition.
Rhapsodie (Ger.) A kind of capriccio ; broken, interrupted, discon-
nected in its structure. (See Henselt's Rhapsody in F
minor.)
Ricercata (It.) A master-fugue, highly elaborated, and containing
all possible scientific feats.
Ricordanza (It.) Remembrance.
Ridotto (It.) Transcribed, arranged.
Rigaudon (Fr.) An old dance formerly used in Provence ; it is set
in common time, alia breve.
Rinforzandol
\ (It.) Giving additional accent or emphasis.
Rinforzato J '
Risolutamente \
Risoluto [ (It.) With resolution, with energy.
Risoluzione, con
Risvegliare
Risvegliato
Ritardando]
Ritenendo ! (It.) A retarding or slackening of the time.
Ritenuto J
Ritornello (It.) A short introduction to an air, which, after the
air itself is finished, is repeated several times. Formerly
the " tutti " in a solo-concert were called ritornellos.
Romance (Fr.) )
t A short lyrical composition.
Romanza (It.) ]
Romance sans paroles (Fr.) Song without words.
Romanesca (It.) )
' . \ The same as Gaillarde.
Romanesque (Fr.))
Ronde (Fr.) A semibreve.
Rondeau (Fr.)| A composition in which a certain part 01 subject
Rondo (//.) j is repeated.
Rondinetto]
Rondino V (It.) A short rondo.
Rondoletto j
Rubato (It.) Robbed, borrowed ; tempo rubato means that part oi
one bar may, by accelerating it, be given to the next bar.
This manner was invented by the Abbate Antonio Vivaldo,
16 ? 1743, and was known under the name of" Lombard
manner."
Saltando (It.) Jumping.
Saltarella (It.) See Sana: t:'..
Sanft (Ge .) Softly.
Sans (Fr.) Without.
)
V (It.) Waking up, becoming animated.
\ An old dance in f or j time ; its move-
Sarabanda (It.) I ment is slow and full of dignity. It forms,
Sarabande (Fr.) I so to say, the centre of gravity of the
; " Suite."
Sartarella or] (It.) A quick Neapolitan dance in f time, some-
Sartarello j what resembling the Tarantella.
Scala (It.) Che scale.
Scherzando]
Scherzo r(It.) In a light, playful, humorous manner.
Scherzoso )
Schlummerlied (Ger.) A slumber-song.
Schnellwalzer (Ger.) A quick valse.
Schottisch (Ger.) A slow polka.
Schwach (Ger.) Softly.
Scintillante (It.) Sparkling.
Sciolto (/(.) With freedom and boldness.
Scozzese (It.) In the Scotch style.
Sec (Fr.) )
. [ Short, dry.
Secco (It.)
Following.
Seguendo'
Seguentt
Seguidilla (S^.) A Spanish dance in | time, resembling the
Fandango, and accompanied by singing.
Semplice )
Semplicita, conf < /fc > Sim P le ' unaffected ' nat raL
Sempre (It.) Always.
Sensible (Fr.) La note sensible, the leading note.
S-sntimentale \
[ (It.) With feeling.
Sentimento, con) v
Senza (/(.) Without ; as senna peddle, without pedals.
Septetto (It.)]
r A composition for seven instruments.
Septuor (Fr.) )
Serenade (Fr.) ) A music which is performed in the evening, in
Serenata (It.) ) the open air.
Serioso (It.) Seriously.
Sestetto (It.) A composition for six instruments.
Seventa, con (It.) In a strict and severe style.
Sextett (Ger.)]
Sextuor (Fr
Sforzando i
Sforzato )
Siciliana, or)
s . ... I (It.) A rustic dance of Sicily, in moderate f time.
Silence (Fr.) The rest.
Simile (It.) Similarly, in the same manner.
Sinfonia (//.) A cyclical composition for many instruments.
Formerly the introduction to an aria or opera was called
Sinfonia.
Singend (Ger.) In a singing style.
Sinistra (It.) The left hand.
Si replica (It.) Repeat.
Si tace (It.) Be silent.
Sixte (Fr.) The interval of a sixth.
Slentando (It.) See Rallentando.
Smanioso (It.) With a furious expression.
Smorzando)
Smorzato \
ier.))
Fr.)}
See Sestetto.
See Rinforzando.
In a soft, gentle, delicate manner.
In a solemn style.
(Compare Emanuel Bach's
Sonata (It.)
Senate (Fr. & Ger.) ".
A short sonata.
Sonorous ; full and rich sounding.
Soave ^
Soavementef
Solennelle (Pr.)
Solennemente (It.) ]
Solennita, con (It.))
Solfeggio (It.) An exercise or study.
" Solfeggios.")
Solo (It.) Alone.
A cyclical composition of two, three, or
four movements. The name is derived
from sonare, to sound.
Sonatina (It.) \
Sonatine (Fr. & Ger.) )
Sonnet (It.) A short poem of fourteen lines. This form has been
applied to music by Liszt and others.
Sonoramente (It.) '
Sonore (Fr.)
Sonorita, con (It.)
Sonoro (It.)
Sopra (It.) Above.
Sordini (It. plural) ) A mute, or damper ; applied to the piano
Sordino (It. singular) j sordino means the soft pedal.
Sospirando (It.) Literally, sighing ; despondingly.
Sostenuto (It.) Sustained.
Sotto (/(.) Under ; such as sotto voce, in an undertone.
Souvenirs (Fr.) Recollections.
Spianato (It.) Smooth, even. (See Chopin's "Andante spianato,"
Op. 22.)
Spiccato (It.) In pianoforte music, the same as staccato.
Spinetta (It.) A spinet. (See Appendix.)
Spirit o, con)
[ (It.) With spirit and animation.
Spiritoso J v
Staccato (It.) From staccare, to detail, to pull off; short ; disut.ct
and detached from one another.
Stark (Ger.) Loud ; with force.
Stentato (/;.) In a loud manner.
Stimme (Ger.) The voice, or the voice part.
Strascinando (It.) Dragging.
Strepito, con \
Strepitosamente ! (It.) In a loud, noisy, boisterous mariner.
Strepitoso
Stretto (It.) An acceleration of the time towards the close of the-
movement.
Stringendo (It.) Accelerating.
Studio (It.) An exercise ; a study.
Suavamente)
[ (It.) See Soave.
Suave
Subito (It.) Quick ; V.S., volti subito, turn the page quickly.
Suite (Fr.) A collection of different movements. (See Bach .T-.J-
Handel's Suites.)
Svegliato (It.) Smartly.
Symphonie (Fr.) See Sinfonia.
Tacet (Lat.) Silence.
Tact (Ger.) The bar; also the time as, J tact, f time.
Tambourin (Fr.) A gavotte movement found in old French clavecin
music. (Compare Rameau's " Tambourin in E minor.")
Tarantella (//.) A lively dance in J time, from the province of
Tarento. Danced only by girls.
Tedesca ) (//.) In the German style. Means also a slow German
Tedesco) valse.
Tema (It.) A theme or subject.
Tempestoso (It.) In a violent, tempestuous manner.
Tempo (It.) The degree of movement. Also thus applied tempo
di minuetto, in the time of a minuet, &c. After a
rallentanda, in tempo means that the strict time is to be
taken up.
Tendrement (Fr.) \
Teneramente (//.) ! With affectionate, tender expression.
Tenerezza, con (It.))
Tenuto (It.) Held, sustained, kept down.
Tierce (Fr.) The interval of a third.
Timoroso (It.) With timidity.
Toccata (//.) From the Italian verb toccarc, to touch. A piece of
music, mostly intended for practice, in which a certain
figure is principally used, (See Bach's, dementi's, Czerny's,
and Schumann's Toccatas.)
Toccatina (It.) A short or easy toccata.
Tonsetzer (Gtr.) A composer.
Tonstuck (Ger.) A musical composition.
Tranquillamente i
Tranquillezza, con
Tranquillita, con
Tranquillo
Tre corde (It.) Without soft pedal.
Tremando
Tremolando
Tremolate
Tremolo
Trille (Fr.)
Triller (Ger.) ) The shake.
Trillo (It.)
Trillerkette (Ger.) A chain of shakes.
Trinklied (Ger.) A drinking song.
Trio (It.) A composition for three instruments. In a scherzo or
minuet the part that alternates with these.
Trommel (Ger.) The side-drum.
Troppo (//.) Too much ; non troppo allegro, not too fast, &c.
Turca. alia (It.) In the Turkish style.
Tutta forza, con (It.) With the greatest force.
Tutte corde (It.) Without soft pedal.
Tyrolienne (Fr.) A slow valse, as danced in the Austrian Tyrol.
(S Lanner, and Strauss's " Tyrolese Waltzes.")
Ugualmente (It.) Evenly.
Una cord* (It.) With noft pedal.
(//.) Quietly, tranquil, with composure.
(It.) With a tremulous, trembling kind of motion.
Valse (Fr.) A valse. (Set Walzer )
Variazioni (It.) Variations.
Vari6 (Fr.) Air varie, an air that is followrd by variations. (Set
Herz's and Czerny's " Airs vanes.")
Veloce 1
,. , . . \ (It.) With rapidity, velocity.
Velocita, con) v
Veneziana, alia (It.) In the Venetian style, sometimes used for
Gondolieras, Barcaroles.
Veranderung (Ger.) A variation.
Verzierung (Ger.) An embellishment.
Vibrante (It.) To touch the keys with trembling lingers.
Vielle (Fr.) The hurdy-gurdy.
Viertelnote (Ger.) A crotchet.
Vigoroso (It.) In a vigorous, bold style.
Villanella (It.) )
Villanelle (Fr.) j A P ' e e in the rustic ' pastoral 3tyle>
Violentemente)
,.. K (It.) With passion, violence.
Violenza, con J v
Violinschlussel (Ger.) The treble clef.
Virginal. See Appendix.
Vite
,.. I (Fr.) With quickness.
VitementJ v
Vivace 1
,,. . , r(J'-) With vivacity.
Vivacita, conj
Vivo (It.) Animated.
Volante (It.) Light, rapid, flying.
Volkslied (Ger.) A national song.
Volta (It.) Time of playing: prima volta, the first time; sccmida
volta, the second time.
Volti Subito or V.3. (It.) See Subito.
Vorhalt (Ger.) A suspension, retardation.
Vorschlag (Ger.) An appoggiatura.
Vorspiel (Ger.) A prelude.
Vorzeichnung (Ger.) The signature.
Walzer (Ger.) A round dance, in j or J time. The Walt* is
the German national dance.
Wiederholung (Ger.) Repetition.
Wiegenlied (Ger.) A lullaby, a cradle-song.
Zampogna, alia (It.) In the style of a bagpipe.
Zeitmass (Ger.) The time or degree of movement.
Zingaresa, alia (It.) In the gipsy style.
Zither (Ger.) See Cither.
Zoppo, alia (It.) In a limping manner.
Zuruckhalten (Gtr.) Retarding, slackening the time.
Zweistimmig (Ger.) For two voices or parts.
Zwischenspiel (Ger.) An interlude.
'ABLE
CIANOFORTE.-COMPILED BY E. PAUER.
1500
1600
15201586
15321604
15911640
16331687
16371710
16831760
1686-1739
16861767
16931766
GREAT BRITAIN.
HUNGARY.
n, Georg Philipp
an Adolph.
1500
1600
1510-1585 Tallis, Thomas. 15401604 Morley, Thomas.
1538 0^546} Byrd>william .
1550-1610 Munday, John. 1560? Philipps, Peter.
15631622 BULL, John.
1580-1650 Pearson. 1580? Tomkins, Thomas.
15811625 GIBBONS, Orlando.
1620 ? Strogers, Nicholas.
16581695 PURCELL, Henry.
1700
Inventions 1168 ( Seb - Bach). Great Improvements of the Sonata by Emanuel Bach, Scarlatti, &c.
1703 1785 'bs, Johann Ludwig.
17061784 ' J , SRi'
1712 1795 er, Job. Phil.
1730-1802 1 5 * 1 *". J h - Geor &
1735-1786
Further great Impr
1750
17521832
1700
17101779
17121795
Boyce, William.
Smith, John Christoph (German by birth, but educated in
England).
17441800 Fisher, John Abraham.
'
17461827 Hook, James.
r, Jo
, Jar
teibelt. Chamber Music, Duets, Trios, Quartetts, and Quintetts (with Wind Instruments) by Mozart.
, Leopold.
Heinrich.
17591842
17601842
iVenzel. 1774-1842 Weyse, C. E. F.
fs, Ferdinand.
1778 1847 lu > Friedrich.
1750
1766-1837 Wesley, Samuel.
17711858 CRAMER, John Baptist (born in Germany, but educated in
England).
17821853 Blewitt, Jonathan.
17821837 FIELD, John (favourite pupii of Clement!)
17841877 Neate, Charles.
17921871 Potter, Cipriani
Chamber Musi Liszt, Chopin, Thalberg, Henselt, Heller, &c., &c. The " Concerto " in highest perfection by Beethoven,
Hummel, Weber, Molayer, Kalkbrenner, and Henry Herz. Transcriptions of Songs, Symphonies, &c., by Liszt, Henselt, &c.
A new form of " Phaf Clauss, Miss Goddard, Tausig, Bendel, &c., &c.
1800
1814-185&5, Sigismund.
h.
lara.
3 erformers are the following: W.
chmidt, Alfred J aell, W. Kalliwoda,
W. Kriiger, A. Loeschhorn, J. Raff,
Speidel, SCHULHOFF (1825), R.
Enhaupt, Von Biilow, Carl Tausig,
1800
1806 Osborne, G. A.
18151865 Wallace, Vincent.
18161875 Bennett, William Sterndale.
1820
LITOLFF, Henry.
Amongst the most distinguished Performers and Composers of modern
times are Charles Salaman, Lindsay Sloper, Walter Macfarren, F. Taylor,
W. Bache, John Francis Barnett, &c.
VIOLIN & PIANOFORTE ALBUMS.
i. MENDELSSOHN. Four Marches. *
Transcribed by B. TOURS. No. i,
Wedding March ; No. 2, War
March of the Priests ; No. 3, Cor-
nelius March ; No. 4, Funeral
March 2
*2. BERTHOLD TOURS. Thirty Melo-
dies (expressly written to be used
in connection with the Author's
VIOLIN PRIMER) ... ... ... 2
3. MENDELSSOHN." Elijah." Ten
Transcriptions by B. TOURS ... i
*4. GOUNOD." Mors et Vita." Ten
Transcriptions by B. TOURS ... 2
*5- BATTISON HAYNES.
Sketches
Twelve
*6. SIEGFRIED JACOBY.- Hungarian
Dances. (Transcribed) 2
7. IPPOLITO RAGGHIANTI. Nine
Morceaux de Salon... ... ... 2
8. OLIVER KING.-Twelve Pieces ... 2
*9- JOACHIM RAFF. Six Morceaux
de Salon ... ... 2
10. SIEGFRIED JACOBY. Six Charac-
teristic Pieces. For Two Violins 2
xi. ARCANGELO CORELLI. Twelve
Sonatas. In Two Books. Edited
by A. DOLMETSCH. Book I. ... 3
* These Albums may also be had arranged for Violoncello and Pianoforte,
i.
*i2. ARCANGELO CORELLI. Twelve
Sonatas. In Two Books. Edited
by A. DOLMETSCH. Book II. ...
*T3 <!TFflFRTFn TAPORY - FiVht
s.
3
d.
6
6
6
National Melodies. (Arranged)
*i4- GOUNOD. " Redemption." Nine
Transcriptions by B. TOURS
*i5- ARNOLD DOLMETSCH. Twelve
Easy Pieces ...
* 16. HAAKM AN. Twelve Characteristic
Pieces
2
2
2
3
6
6
6
6
IT TTANT1FT SIY Snnatac TVip
6
Pianoforte Accompaniment by
A. DOLMETSCH
18 ARP.ANRFTO PORFTTT Siv
3
6
6
6
Trios. For Two Violins and
Violoncello, or Pianoforte ; or as
Quartets, with Violoncello and
Pianoforte. Edited and the Piano-
forte Accompaniment by A. DOL-
METSCH
7
fi
6
6
19. KATE RALPH. Six Pieces
20. VARIOUS COMPOSERS. Fourteen
Pieces
2
J
6
fi
fi
21. VARIOUS COMPOSERS.-Twelve
Pieces
3
6
22. VARIOUS COMPOSERS. Thirteen
Pieces
?
6
23. ROSALIND F. ELLICOTT. - Six
Pieces
i
G
6
26. ETHEL M. BOYCE. Eight Pieces
2
6
*A. C. MACKENZIE. Six Pieces for
Violin. With Pianoforte Accom-
paniment. No. i, Gavotte ; No. 2,
Berceuse; No. 3, Benedictus ;
No. 4, Zingaresca ; No. 5, Salfa-
rello ; No. 6, Tema con Variazioni
net
Zingaresca (from the above) ...
Benedictus (from the above) ... ,,
,, Arranged for
Orchestra. Full Score
Orchestral Parts
s. d.
5 o
2 O
2 O
5 O
3 6
A. C. MACKENZIE-h'd.
Pibroch. Suite for Violin Solo. Arrange- * <*
ment for Violin and Pianoforte net 6 o
Orchestral Parts ... ... 18 o
JOSEPH NEVERA.-Ten Pieces for
the Violin. With Pianoforte
Accompaniment ... ... net 6 o
C. GURLITT. Six Pieces for Violin.
With Pianoforte Accompaniment
net 4 o
Romance (from the above) ... ,,20
LONDON & NEW YORK: NOVELLO, EWER AND CO.
BEETHOVEN'S SONATAS
(NEW AND COMPLETE EDITION.)
EDITED AND FINGERED BY
AGNES ZIMMERMANN.
In One Volume, Folio size, handsomely bound in cloth, gilt edges,
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No
1. F minor, Op. 2, No. i
2. A major, Op. 2, No. 2
3. C major, Op. 2, No. $ _
4. Eb major, Op. 7 5
5. C minor, Op. 10, No. i
6. F major, Op. 10, No. 2
7. D major. Op. 10, No. 3
8. C minor, Op. 13 (Path6tique)
9. E major, Op. 14, No. i
10. G major, Op. 14., No. 2
11. Bp major, Op. 22 6
12. Ap major, Op. 26 5
13. Eb major, Op. 27, No. i (Quasi
Fantasia)
14. C^f minor, Op. 27, No. 2 (Quasi
Fantasia)
15. D majoi, Op. 28 6
16. G major, Op. 31, No. i
17. D m.nor, Op. 31, No. 2
18. Ep major, Op. 31, No. 3
I.
d.
4
O
5
O
5
5
4
'0
4
o
4
o
5
o
4
o
4
6
o
o
5
o
4
o
6
o
o
5
o
5
o
5
O 1
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PRICE EIGHTEEN SHILLINGS.
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OR SINGLY:
No.
I.
2.
3-
4-
i:
7.
8.
9-
10.
ii.
. d.
C major 4 o
F major 4 o
Bb major 4 o
Eb major 3 o
G major 4 o
D major 6 o
C major 5 o
A minor 5 o
D major 5 o
C major 4 o
A major 4 o
No. i.
12. F major 5
13. Bb major 5
14. C minor (Fantasia) 3
14A. C minor (Sonata) 5
15. F major 6
16. C major 4
17. F major 4
18. Bb major 5
19. D major 5
20. Bb major ... 5
o
o
No. s. d.
19. G minor, Op. 49, No. i 3 o
20. G major, Op. 49, No. 2 3 o
21. C major, Op. 53 6
22. F major, Op. 54 4
23. F minor, Op. 57 6
24. Fj major, Op. 78 3
25. G major, Op. 79 3
26. Eb major, Op. 8iA 5
27. E minor, Op. 90 5
28. A major, Op. 101 5
29. Bbmajor, Op. io6(Hammerclavier) 10
30. E major, Op. 109 5
31. Ab major, Op. no 5
32. C minor, Op. in 5
33. Eb major 3
34. F minor a
35. D major 3
36. C major a
37. G major I
38. F major a
*
6
o
O
6
o
MOZART'S SONATAS
(NEW AND COMPLETE EDITION.)
EDITED AND FINGERED BY
AGNES ZIMMERMANN.
d.
o
o
o
o
o
o
o
o
o
The Separate Sonatas sold at Half-price.
LONDON AND NEW YORK: NOVELLO. EWER AND CO.
PIANOFORTE MUSIC.
BACH.
> >> "Z'S
S-S 3
0,0 wu
MT
220
P28
Moll'
FORTY -EIGHT PRELUDES
AND FUGUES. (W. T. Best)
TTnUn fi/Q
Pauer, Ernst
The art of pianoforte
playing
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET
UNIVERSITY OF TORONTO LIBRARY
Uir/or/rv. lyrrrrc vvv->ivm. -me
only complete edition. Eight
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MENDELSSOHN. |J jg
(Continued.)
LIEDEROHNEWpRTE. The
only complete edition. Eight
books 2/6 4/6
SYMPHONIES (Solo)
SYMPHONIES (Duet)
OVERTURES (Solo)
OVERTURES (Duet)
Folio 12/0
Folio
Folio
Folio
ELIJAH.
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Novello ...
SECOND MASS.
Novello .
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... Folio 2/6
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... Folio 8/0
SEVENTH MASS. Arrd. by V.
Novello Folio 8/0
TWELFTH MASS. Arrd. by V.
Novello Folio 8/0
REQUIEM MASS. Arrd. by J.
Pittman Folio 8/0
SCHUMANN.
ALBUM FOR THE YOUNG.
55 Pieces. (Agnes Zimmermann) 2/6 4/6
Ditto, in three parts ... each 1/0
ALBUM LEAVES. 20 Pieces.
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SCENES OF CHILDHOOD
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LONDON & NEW YORK: NOV^LLO, EWER AND CO.
NOVELLO, EWER & CO.'S
MUSIC PRIMERS
EDITED BY
SIR JOHN STAINER.
i. t.
1. THE PIANOFORTE - - E. PAUER 2 o
2. THE RUDIMENTS OF Music - W. H. CUMMINGS i o
3. THE ORQAN - - J. STAINER 2 o
4. THE HARMONIUM - - KING HALL 2 o
5. SINGING (Paper Boards, 55.) A. RANDEGGER 4 o
6. SPEECH IN SONG (Singer's Pronouncing Primer) A. J. ELLIS, F.R.S. 2 O
7. MUSICAL FORMS - E. PAUER 2 o
8. HARMONY - - - - J. STAINER 2 o
g. COUNTERPOINT ... . DR. BRIDGE 2 o
10. FUGUE - - - JAMES HIGGS 2 o
11. SCIENTIFIC BASIS OF Music - DR. STONE i o
12. DOUBLE COUNTERPOINT - - - DR. BRIDGE 2 o
13. CHURCH CHOIR TRAINING - - REV. J. TROUTBECK i o
14. PLAIN SONG .... R EV . T. HELMORE 2 o
15. INSTRUMENTATION - E. PROUT 2 o
16. THE ELEMENTS OF THE BEAUTIFUL IN Music - E. PAUER i o
17. THE VIOLIN - - BERTHOLD TOURS 2 o
18. TONIC SOL-FA .... J. CURWEN i o
ig. LANCASHIRE SOL-FA ... JAMES GREENWOOD i o
20. COMPOSITION - - J. STAINER 2 o
21. MUSICAL TERMS- -STAINER AND BARRETT i o
22. THE VIOLONCELLO - - JULES DE SWERT 2 o
23. TWO-PART EXERCISES (3g6) - JAMES GREENWOOD i o
24. DOUBLE SCALES - - FRANKLIN TAYLOR i o
25. MUSICAL EXPRESSION ... MATHIS LUSSY 3 o
26. SOLFEGGI (Paper Boards, 55.) FLORENCE A. MARSHALL 4 o
Or, in Thret Paris, is. 6d. each.
27. ORGAN ACCOMPANIMENT - - DR. BRIDGE 2 o
28. THE CORNET - H. BRETT 2 o
2g. MUSICAL DICTATION. Part I. - - DR. RITTER i o
30. MUSICAL DICTATION. Part II. - - - DR. RITTER 2 o
31. MODULATION - - - JAMES HIGGS 2 o
32. DOUBLE BASS - - - - - A. C. WHITE 3 o
33. EXTEMPORIZATION .... DR. SAWYER 2 o
34. ANALYSIS OF FORM - - H. A. HARDING 2 o
35. 500 FUGUE SUBJECTS - - ARTHUR W. MARCHANT 3 o
36. HAND GYMNASTICS - T. RIDLEY PRENTICE i 6
37. MUSICAL ORNAMENTATION (in the Press) ED. DANNREUTHER
(TO BE CONTINUED.)
Any of the above may be had strongly bound in boards, price 6d. each extra.
