part iii. exercises, for obtaining a mastery over the...partiii....

Part III.

Virtuoso Exercises, for Obtaining a Mastery over the

Greatest Mechanical Difficulties.

Notes repeated in groups of three.Lift the fingers high and with precision, without raising hand or wrist. As soon as the first four meas-

ures are well learned, take up the rest of the exercise.

M. M. J = 60 to ISO.

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Notes repeated in groups of two, by all five fingers.

Study the first fingering- until it is thoroughly mastered; practise similarly each of the five following finger-

ings then play through the whole exercise without stopping.

Accent the first of each pair of slurred notes.

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5th fingering.

The Trillfor all five fingers.

Practise the first 6 measures until theycan be executed in quite a rapid tempo-, then practise the rest of the

trill. Where the fingering is changed (1), be careful that not the slightest unevenness is apparent.

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Notes repeated in groups of four.

Lift the fingers high and with precision throughout this exercise, without raising hand or wrist.Whenthe first line is mastered, and not before, take up the rest of the exercise.

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4 42

Wrist - exercise.Detached Thirds and Sixths.

Lift the wrists well after each stroke, holding the arms perfectly quiet; the wrist should be supple,

and the fingers firm without stiffness. Practise the first four measures until an easy wrist- movement is

obtained; then take up the rest of the exercise.

(M.M. J =40 to 84)4 4 4 4 Q1

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Stretches from the lit f the 4*1? fingers, and from the 3 d. to the 5th,in each hand.

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(M.M. J =60 to 108)

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Legato Thirds.

We recommend careful study of this exercise, as Thirds occupy a very important place in difficult music.

All notes must be struck evenly and very distinctly.

(M.M.J;40 to 84)

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^SffiFScales in Legato Thirds. It is indispensable to practise scales in legato thirds. To obtain a smooth le-

gato, keep the fifth finger of the right hand for an instant on its note while the thumb and 3«* finger arepassing over to the next third; in the left hand, the thumb is similarly held for an instant. Notes to beheld are indicated by half- notes.$ Proceed similarly in the chrormatic scale further on, and in all scalesin Thirds.

(M.M. J = 40 to 84) 31

Preparatory Exercise for Scales in Octaves.

The wrists should be very supple, the fingers taking the octaves should be held firmly but withoutstiffness, and the unoccupied fingers should assume a slightly rounded position.

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erateslowly until the feeling ot tatigue

See remarks to NP 48.

ess, and the unoccupied lingers should assume a sngnuy rounaea position.

first repeat these three first lines slowly until a good wrist- movement is attained, and then accel-

the tempo, continuing the exercise without interruption. If the wrists become fatigued, play morer until the feeling of fatigue has disappeared, and then gradually accelerate up to the first tempo.

(M.M. J z40 to 84)

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Scales in Thirds, in the Keys Most Used.

Play these scales leg-ato, and very evenly; it is highly important to master them thoroughly. See remarks

to N? 50.

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Scales in Octaves in the 24 Keys.

First practise each of these scales until it can be executed with facility; then play through all 24 with-

out interruption.

We cannot too strongly insist on the absolute necessity of a proper wrist- movement; it is the only meansof executing octaves without stiffness, and with suppleness, vivacity and energy.

See the explanations for N°.s 48 and 51.

[. M. J t 40 to 84.

G minor.

(1) In all scales in Octaves, the black keys are to be taken with the 4*J» finger of either hand.

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The Fourfold Trill in Thirds, for all five finders.

Execute this exercise very smoothly and evenly, striking- each Third very clearly.

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Same remark as for N° 54.

M. M. J = 40 to 92

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Scales in Broken Octaves, in the 24 Keys.

Play them through without stopping.

This highly important exercise likewise prepares the wrists for the study of the tremolo

M. M. J -60 to 120. cC major » ±

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(1) Thoughout this exercise, take the black keys with the 4th finger of each hand -

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To begin with, practise the first arpeggio in C, which must be played cleanly and distinctly, with a goodwrist -movement, before passing to the next in minor.

Similarly practise each of the 24 arpeggios; then play them all through without interruption.

M. M. J = 40 to 7a

(1) Throughout <his exercise, take the black keys with the 4th finger of each hand.

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Sustained Octaves.

accompanied by detached notes.

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M. M. J = 60 to 92.

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Fourfold Trill in Sixths,

for the combination of the 1st and 4th, and 2nd and 5th, fingers of each hand.

Neither hand nor wrist should be moved in the least while playing this exercise.

(M. M. J = 40 to 84)

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(M.M. J =40 to 8*)

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The Tremolo.

To properly execute the tremolo, it should be played with the same rapidity as the roll on the drum.

Practise slowly at first; then gradually accelerate the tempo until the movement indicated (M.M.J =72) is

reached. Finally, by oscillations of the wrists, the rapidity is still further augmented up to the tempo of the

drum -roll. This etude is long and difficult-, but the excellent result will fully repay the pianist for the trou-

ble and fatigue encountered. Steibelt made his hearers shiver by his execution of the tremolo.

60.

(M. M. •' = 48 to 7sJ

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liiitiiiiiiiiiiConcluding: Remarks.

Now that the student has practised this entire volume, he is acquainted with the chief mechanical diffi-

culties; but, if he would enjoy the fruit of his toil, and become a real virtuoso, he ought to play this entirebook through every day for a certain time 5 only in this way can he familiarize himself with these great dif-

ficulties. An hour is required to play the book through.

The greatest artists find it necessary to repeat daily exercises for several hours, merely to "keep up their

playing." We should not, therefore, be accused of exaggerating the matter when we require of a student aspiring

to true virtuosity, that he should play these exercises through every day.

part iii. exercises, for obtaining a mastery over the...partiii....

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