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ft)*

PLEASE HANDLE

WITH CARE
University of

Connecticut Libra
fc fc*

Connecticut
L BR
I

#^ rfe rfc

A R IK S
F

GIFT

Bruce Bellingham from the Collection of Patti Bellingham

^153

nmaa^a

llllllllllllllll

GAYLORD RG

BOOK TWO

FUNDAMENTALS
of

PIANO TECHNIQUE
BOOK TWO
ADVANCED TECHNIQUE

by LEON

CONUS NDO/?S
ARRAU
i

^ lecOMMEHD**
town

\>1

.arioBRA

CASAI
ansa

0*

ise

ECHANIZ

H
ford

CURZON
"** FIRKUSI
fladimir

DORFMANN
rudolph

QANZ

HOROWITZ

wgene

ISTOMIN

:'<*,

William

KAPELL

itolri

MALCUZYNSKY

leo

PODOLSKY

alexandarUNINSKY

7/2^

clayton

f.

summy

co

Digitized by the Internet Archive

in

2013

http://archive.org/details/fundamentalsofpiOOconu

FUNDAMENTALS OF PIANO TECHNIQUE 535

BOOK TWO ADVANCED TECHNIQUE
*

by

LEON CONUS*.Q

see page 44 for biographical sketch

FOREWORD
long life to advanced pupils and aspiring teachers. The exercises here are the result of careful thought and experiment during the many years which I have spent teaching. In order to facilitate study and systematize these contents, I have divided the exercises into seven categories, first acI

dedicate this

work

of

my

cording to their classification, and second according to technical difficulty:

EXERCISES FOR EXTENSIONS

Page

FIVE-FINGER EXERCISES

Page 11

THE PASSAGE OF THE THUMB

EXERCISES FOR THE TRILL

Page 17
Page 23

SCALES AND ARPEGGIOS

EXERCISES FOR THE WRISTS EXERCISES IN DOUBLE-NOTES

Page 27 Page 33 Page 40

Thus, each of these series has a special aim or purpose:

to facilitate stretches, loosen the hand, strengthen the fin-

The EXTENSION EXERCISES are designed

gers and give them independence.

The FIVE-FINGER EXERCISES are designed

to de-

velop agility, strength and independence. continued page 2

C. F.
S.

Co. 4327

Copyright 1953 by Clayton F. Summy Co. International Copyright

Printed in U.

S.

A.

The

THUMB

must be specially trained, for

its

re-

sponsibility in piano playing is very great in so far as skilf ulness in changing positions and maintaining legato are concerned.

best exercise of all for equalizing the fingers and for acquiring the "jeu perle".*
is the

The TRILL

The usefulness

of

SCALES AND ARPEGGIOS

is uni-

versally recognized, and their preponderant role in most piano pieces is excellent proof of the wisdom of working at them regularly.

Good DOUBLE-NOTES are among the most outstanding accomplishments of the virtuoso, and steady practice of them is required.

An

agile,
all

opens

mobile and subtle WRIST is the key which doors and helps to conquer technical dif-

ficulties.

Three basic human faculties must be employed and developed

ficiency of technique; they are

if

one

is to attain

pro-

WILL POWER, MENTAL AND MUSCULAR COORDINATION, AND CONSCIOUSNESS IN THE FINGERS. I consider the possession of
these three faculties as a necessary foundation for all successful technical study. To obtain the best result in practicing exercises, one must vary the method of work. This can be accomplished by the following:

1.

2.

3.

4.

exercises at different speeds and keys Use different touches and nuances Change all exercises by utilizing various rhythms and by displacing the accent invent different figures in addition to the ones

Play

all

illustrated
5.

Memorize

all

exercises

conviction that even the musical genius, inspiration, intuition, and all the other gifts of nature, still can have no real success unless at the same time he possesses a knowledge of how to work and a love of the work itself. This also appears to be a devine gift. For without this there would have been no great men - neither scholars, nor poets, nor painters, nor architects - and certainly no great composers or interpreters.
I
}

To conclude, possessed of

should like to express

my

....

Leon Conus

*Pearl-like playing

SECTION
Example
I

EXTENSION
3333

For two fingers only, low wrist

3333
L

33

p
-*

MpMp
<^^^^
I

one octave lower

-a 3 2

aaaai
3 2
3-

Other fingerings t

m m

s
e
5

1:

Br

IX ^E
I

etc.

i
2 2

JLi^ri
i

prrfrri rrrrrr
2
2 2 2

/ct
r'

M
Example

ri JTT7T]
I

if^s:
II

^ u

'Jr~Jl

j^

P^g liiiii

m m a w m

J3
^-etfc

Consider the size of your own hand in practicing this exercise; a large hand may add one or more notes, and a small hand may diminish the extension.

2 2

L.H. one octave lower

Other fingerings f
5 o

C.F.

S.Co. 4326-41

Cojoy right 1968 Clayton F. Sumi// Co. International Copyright

Printed

In

U.S.A.

444
i

[3

Jr#

a sp B
2

feE *
.

X 3
f

et c.

M
5

5555
UJ.
I

-r^-JttJ
2 2

iJA
5

555

S 5

IZ~~ofo

Example
With
*

III

flexible rolling wrist 44 ^

^
5

4
etc.

,y

y
2
,

*
*

^4
*

:z

z_

4521

The Left Hand two octaves lower

etc.

i
t.

^z~
ZZ1
-m-

ZZL

21

3E

etc.

i r
C.F.
S.

r~

Co. 1326

Example IV
Those persons who have small hands must be especially careful in practicing extensions, and not sustain notes which make the stretch too difficult.

STEP

PRACTICE THESE SIX CHORDS

331

IN

ALL KEYS

$
STEP
II

-*&

ffl

m ^

Play the following exercises slowly, emphasize the action of each finger, keeping the wrist low; while holding the half-notes at the end of each measure, control the flexibility of the wrist by moving it up and down.

PLAY THIS EXERCISE ON THE

13
4
3

SIX

GIVEN CHORDS
4 8 2
a

m 53^4 *
D
Left

Hand two octaves lower

^WP 53
2 3

45 43
r

4 8 4

4
3

12

25

4 3

K 4

321

2 1 ^If 3 2

-e^e*

'&

Paster, lighter, exact raising of each finger, flexible wrist 3 4

12

5_

#
Left

-e-tCi-

On

all six

chords

Hand two octaves

lower

0^
H^S
C.F.S.
Co.4:j-:)

-e4cr-

On

all six

chords

1234

m^rm

-etor

On

all

six chords

6
Slower, after the stretch, the hand resumes its normal position

'

4
:

^m *
Q^^

efe7

on

all six

chords

T,
a

'
'

Legato with flexible rolling wrist a 2 -^ i

4

3 I

-etr

on

all six

chords

4
fe S^ I
D

4 5

3 2

12
i

LriT'lf^
3

Tv
i

r
i

'

xLJ'

[aj

ci'Trn

F\%\
-eh

12

3
l

r^TU'LUlIrClg
5 3

^fej

<

a ^

4 2

42

^5 # k#
s

i B*ii

..A &

-eter

With

rolling wrist ,pivoting on quarter note

Example

V
3

Legatissimo, slow and mezzo forte, holding all notes of each measure, raising only one finger with a quiet movement, always controlling the complete relaxation of the arm and wrist.
5

H^i'
1

3 4

JiJi * 4 3 Jijij 4 3 2
'

rwTO'OTrM^Ecff
r'

Left

Hand two octaves lower

m
Br ,

tt
i

rrf
*r> e to
i-

rF. i

P-.

S
lt

tt

ttftt f

FlHr,.pltr,4

e tr
i

<+

a.

Mrj.

riprrrrniix
i

jUAJ^pf^igg

ITO Tr f^r i.j'Jnj

^jjL
l

<

OT

jrtJj
lt

C P.S.Co. 4326

Leggiero, fast, piano, without holding any notes

m
a -P

2l

12
4

DC &*
3

g g g lj J7JP 4 T 4
3

AE^SS z
3

5
*/.

L. H. two octaves lower <e

5

z =^fE p 12 8

r
2

/zz
.

te-5

iJL_
3

12
5

iffi
1

iB

tt

iJ i

JTT3 ^

cto.

Example VI
Four times

Four times

-6

Z L.H. two octaves lower

4~
3

*
m

t^^J^
|

Jr

^J

J -J

=d

^m
etc.

Slowly

imfiMiii^^
5 3
14

3.

41

*" i

WM^/hiL g
turn

L.H. always two octaves lower

Leggiero

Slow, legato

YPr PpF ^
i^-'
i

gjEZZg

#-s

*;
:

eTc?

rr

r^

C.P.S.Co.

43*26

Example VII
If the
5

extension

is

too difficult, hold only one finger

5

rt''

!f.-i:E

m
-*=*-

y
1

L.H. two octaves lower

2^

2 *

34v

/ r

2 5

;r=*

#*
2 4

lO
-*-

2 4

7"
K

igzgj

'

pr

I P

-T0
I

-*-

'^'HfNtlJ

Example VIM
Legato, wrist flexible, both voices legato

j^j^j

(o^^-r ^-f

r fr--f

^
1

Jq

^HW

rrjyn
fp-^_

w-t^-j^h
w^-f
1

r f

r^ r^r^i=r
-J^j^J^j^

f-iJ-M^r^
C. P.

mf

S.Co. 1326

^HW f-r-M-Cr UMm'-Mm'i^ V' lUfriirf^

J
J
i

7^~C

jrrpipTTTJ

ITE

-eth

Legato? after the stretch the hand resumes its normal position

legato

Example IX
First, practice the following group of three chords in chromatic sequence

m
ka.

vW
l*K?I
It*!,?!
j

''tJ

*ir
\fi

m
f>^~

m
|

> i^

f^"

Legatissimo, slow, holding

all

the notes of each measure

p[ffgn.g P

k
r

TTF^Vl
=EJ-a^ p

f-ff

ihre*

M CITt#*Jt
=(t3
i

?^P:

-^gjrfrgi
A9

y^-^ r i J^

P--P-

,,

*
If
Hi

r* r*

TT-

P-

"

?-

p
>

mP -
w

-In P

y|#y

tit

"-""

fMt^ #^=FP
-^

s:

^ rrtrr'fm
>f

p p

f>'J

f_I.

p.

-jT-^fl-^-^l-

p-p-J-1 \-rUX^4\ J* Jl r p1
1

'3

p-t^ -* hkn

^-s.1

-^p--

i"| ;;;. L_J

|

ftp

z^r ^ ^p|
1

"
1

. K

T H

Ei 'i_

cE

c.

f.s.Co.

4.i:r,

10

IeI

te*

5S
r?
i

m-sT

^ ^Pff
*te=

foET nt"

ffo'LC F..F-F.,*

^ ^^^if'^i'r^-'^ifiCtM
n

p
ZJE

ft

I CJ3T i J ^ i

CZ IZE

i
7

p p p
etc

# m

ff

M -

^m^

,w

P
,,

-^

\'

F^

Zs

m 5r^=zft -35# 4

no-

7T

^rT'T
V V V

^s ^ ^^''TT MM fY''r'^^^^ V T 7? HPFFPH 7 FTP fTFp

r'
*'T*ho|,

i^pf , < ''r''T ^ r''

'

& & & ii>i b>, ii ii Ji Ji> bhjl ^ 4U> ^.^^uua'v HE P 3 $ 1 j j s

-K

l^T
P
3

v_
:

v^ r f'x i

3ggJ^g1

5:

>

> 1

5w3 1

fefe

Ei

k^hrjr

tnp

M? 1 jtelfe is jjjjiig
i

* v

js'is fe isi

^s

f*
f

F-^T
f

VC.F. S.Co.

i.-^r**
"

WffTPPf
J.;.;

pp f f

Pff

f?P

SECTION
Example
+
:

II

FIVE FINGER EXERCISES

twice

11

i times

8" iJ
twice

holding

all notes

P
1?

JiJ H

J ^^.^ J ^-i^^^^ J A^^U^ ^^i^ iH without sustaining

|

1,J

L.H. two octaves lower

I,

i;

W p

leg-giero

^
j

-J

y.

|.j

^J

j
J

4
j
j
j

m
^

iig

j
J

B
: :

itJ

ii

J
tt

* g I

li

bJ

^
^
1

i
b^

J
J

i i i

i.Ji

/ // H

3
;!r#

Hf

i
I*

#J7?

^i
3h

#H se
Use
different

^S
rhythms
: <

**j j g=**
:

U PP

* " ahW?*1 1 l rj^tt^lFj^tti^^i!^ S **" i .Wtp-M d -M " i-J^

t>J.^J-^J-JlJ/"-iJ.JM-^-JJ1l-J, J -^* gi^^3 fefe

i

IS

g^^^^p
W^ ^J^-JJl-JlWi^

l^^ fp*

LaT^-J

IJ,

^m
5

t>

J Jl J
l;

l;

J!> "

J 9^f9^j9$9^9

^
4

n~^jj2
,j

ip^i

JJpl
-*t<'-.-

i I

^^

C.F.S.Co.4326

12

k=fc=fe

X3E

*~P# E
3 ^

l
:

L?

^s3
:

Tf

-I I

ii

^jgy r

B S
fli
:

^*

j jjjij
;

ii

XJJit^^ Jg^ J f5j

:

|:

|:

JjPr

Brf^
ten

p> p^ p>

/>

fe#

ten

few

ten

ten

ten

ten

a)

E
L.

WW 5P
.

always two octaves lowers

m
l|J

^ W^
l

b)

l>J

iJ

bJ

"^^j.

j =f

^=^

bJ

>J

'

| I

rJ

" " |

bJ

p p p bJ

J bJ 'J. bJ H J

wp
J

* J
a;

1>

^
b

P P

j
b

j ^j

ftj

g
b)

J J

i|J

JJ

ii

"
j

^i
^=^

j-^^J
c)

WW
-tf

P
J
i

*=*

^=W

W^
J

I Ff
,r*

^^
M
* J

J J

S^
ft' tt*
1

J J J

1 1

J J

...

mi
j

* n j. w * *

j.

i J

J,

j=^^

WW
3:

C.P.S.Co. 1326

13

c)

^z
I

WW

^HP

J ' / /

' J

Example

II
2
3

34

Bisyissi
2

3^

4^4

2 5

3 4

*
^
i
2

* w *jm

M>

gM
etc.

r
F m
4 3 5 2

2zi

Varying accents

CF.

S. Co.

1326

14

ffij^m

jlggl
L.H.
in

,.n

j^ajfljrg

e .,.|

jf j] s\
r

contrary motion an octave lower

Example
i

III

i&

ti...;?^

'^^

^-^

zs:

OC

nra

#-,

tTf

mH

31

F JlJ

4hym-0^ ZM

#->-#

m*

0m +

#^-#-=

=-#-#-

C.

P.S.i

Example IV
L egg iero, fast
a) 2

15

323

..a^
23
Sva.

2 3 2

a^ B Spi
W#
^(7.9.50

cuir,

fl%p

j /tf<#

S"d)

FfTf

*L*

ft

fg

FS
etc,

^SW^* M
5

s
Other fingering o-j \
*

tt

r r^r

rtt rrfr

asso.

Legato

;ig

%tff?

rfff p rf

e# &

234

JE^JE

F*P*

liitfVyfff
I
'

rrri

ffi^gffgfl
8^

w basso
C.F.S. Co.
4.1:26

16

gvm.

_
a

is *
ift

^^
J
etc,

ij^gjgi'jj*^
gra basso.

&
5__3
2

d*r- #

Other fingerings 4

3~
twice
#-=-#-=
=L-#

Example

V
4 times

s -fr-f^
"'

m as
3ZE

twice

):?]

^
ffff

?
i
0-

ffiS
#^

u^cium

-=-#-

BEUB BBUB

CS^flC

i r
w
t~
C.

9s'.

alt

d.
^

-!-=

Lr CJ

fr^

fT
t5H

^ff^CT

=-^-r

P.S.Co.

$p ^

n^n

7TC

III

^ iwfiii
-

22

SECTION
Example
3
,

PASSAGE

of the

THUMB

First practice legatissimo, slow, holding three notes, then leggiero, fast without holding
I
i

=1

f * J 2 T | 3

i
1

a 3

nn
m
Other fingerings
4
1

ff P*
t=A

L.H. one octave lower

*i *s
2

H*
13 13
'

l^t

t
5
.

** r* ^r

3
4

J J J J J
|

'teak
*

1 in/ 12

*-

13

f
i

1 I , , ,

t^~^j
*

lN
i &
95
i

= =====F=^ p p F r

p^-j

^ P^imf^i^^iiif^^'IW
i i

CF.S.Co.432<5

P/W/ffl||B |
Also
in

groups

of six

oto.

r r
r

and
In groups of
eight

#i ^rrrrrrrfrrf^rfTT
3454 4131
1 2,1
1

oto.

3454 21314131
B
2 3
1

31 d 1

In

all

keys

^ftt rff^ffl^r^Fr*^
3

4
5

p&fr^M
* g * i -#! 4

-etoi

Example

II

* m

* ^S
1

w=w
r
r
5S

* y i

^
2
(5^-

13

pq
Holding notes

Holding 2nd fingers only

w
5

=*
4
3

^=&
3:

12 13
p=s

'/

*/.

m
- J

Holding 5th fingers only

^
V V'fdi
'

I
3
f

^s
r
JC?_JL#_H

f^JJJjJ^
f

^^

#T

3a:

jEZZg

/.

P.S.<

.4326

19

ppr 9Pi
2
3
1

i
4
5

^^
4

lJtj.l>

13
i

U *Wj

-3_

fc4zm:

*-frw

-t

frt*

s sBl

2^
u>
*=*=

=jhF== #--
'fli

'

"

)H

f
h!5F

g
j

lJ-1 Iggg

^=W i

P i P

Efcf

3
al

i PI
J
f

*
gE i

^
i8

^'' *^#

^S
r

MS p^ K^i^
J

^^
y.
/.

^ij-J^ *^
f p | g

j!L

ill

i
-

/.

#=p=^

EEg

li'Syii:

I 'fp

i rr

sty

i-y-^jj^s

UP 0^3
2

P^l
2
3

i
4
1

"
3
i:

J o. J

ft

14
a

y=f

l=P

I f
p

' im J j J J '

^F=VE s

'

**=^

ICi!

^=^

pp

-#

^^
p
,

p
i

*-#-

^^
r

<>

*s=

^=w
4326

-*-

y.

gg

C. F. S. Co.

'20

"eft**

i^
tei

4
r

f-H-l

1
4

E
3

15
.
it

^=^
r

5Th-

ip

^=^

Example
After

III

Hanon

12

14

4 3

14

3S

5e^

^W3

#
Z&

CT.,. ,pito

<
f

0:

5 P

^^

es^e

^^

*i^

.F.S.Co.

.';

21

5S m 3S
y#
333:
R.H.

i
etc,

'/.

-r
5Z

Bff
3BE
4

33

/ /.

/.

t-k-^J^2E
3

3PI
^Sl

/. /.

HE

a
jg
L.H.

13
j

12

1343

^3
3

W^
3
3

L.H.

ff

2 3

W
/

Example IV
R.H.
4
1
I

4l,
/.

4
/. /.

fapE

|
2

]*

p
1

I
1

g1

up
2

^
'
'

14

p
1

|
2

z /.

'/

14

L.H. one octave lower

P
B H
C.

-/ /

/. -/.

*/

I F* '/

/. /.

r / /

/.

l^Tn

3&
'

^
4

B
:z_
1

Zf;i^r>

L^fe=g

n*

12
It

12
j

tat

12

etc.

F.S.Co. 4320

oo

Example
S ra...
4
1

V
3

JL

i
S
i

J
2
1

^BE

w=w
3

* w

vr

^^

^W

W=5F

^
2 3

^=>E
4

12

S 1'*

**.

I ?

0^

^=W

m-^

^=W
p =
"

^n^

P# L- C

^3E

^=p

-etd-

Play the above exercise on the following six chords

R.H.
* v^>

[>g
V*

fee

^gT7?v
ifl

ta "

M
1

"s"

L.H. J?

o11

C.F.S.Co.

23

SECTION IV
4

TRILL STUDIES
* *4

5^
12

mmmmm

^^m ^^m

*
2

f
1

^z

r-^
:z:

miffifiSEffl
-r

jg?!M
^g^g?

^ jBySW&ffl zp: n

f^

S3 9J*J*J*-JjLdMLm- WBJffiB p T^rfi f

SZ

35J5- g^
~

4 3

t
g
ffljfflj^i ^3E

F^i
1

%
0~

w^t
2 3

s:

2 3

fEZ*

Z3Z

^^
j.
=F?R

f
,j. _ #
j

ffifffi SB

SB
3

?
i

P9

: ^

/.

VPV:

HOT -h-^h-rl
SI
I

"

j^EBSB

Bi

1'^

I ^
pN

F^
f
"*

/.

y.

7TTPr.
^

n]^
J
J
y X.

*- -

~*

y X.
T

-^~ r~~*~* *
9*-

0J
{

^ 57 rr *-- A A
m
j

: !

->

F,

i .

il^

J
.

r ,
r>

l^J
4

T!

l-rrrrfrrrfrfrprfrfrfrrrrfi
J
j

^j^J

4*5- tJ

JL-

^~
1

''rrrrrrrrrrrffrffiTrrjiSr
C.F. S.Co.4326

wm

HW^T
J
* I

iirij
"

24
Different touches

i r=f

J J J J J J J

J
ft

mn

*
II

5?

Example

2 3

4 3

4 5

*~^* +-m-*-*
4 3
2

Z#--# m
4
3

AUll* tt|Jfl3*J53*
**

^p.ypf^g

3_ <*

Z*=3

ii-A. *

4 5

/to/pr-/
[)>*[[[[*

JHl<ffl! feSllSili

J p3*J533*

^fe
I

z MTnEy*
mr^cccr^

iiii

Vt *'''"

/^

&

^fto^
45
4

^'/^^ar*^*

m*^*
JJJJ-/JTB-/

#--*

gggggg
Going down

i jbtjjjjL
2 3 2
1

^s
5

3fe

21

BJyffl 23

1 i

k car^Bjr^ car* mt
#-^#
4
3

BS9

aflH* rrrr^rrrr* JJUy.J^ y.

J^Ji
'* d * d

Z
4 5

JJJ J *^
2

J*J *

^J * J

'

JJJj juj.

'

fflf / &/

m 5

ffi J3jj*J333

iS

Sfl*JI3] z

MB
=

C minor harmonic

flyja*
i,

ro^sz
etc.

g
C.
P. -.

rrrr*
Co.
i;:';

Bg

'
l

fflr^rr^ Egr*Blr*

[flr*ffi

r*m ^

m rgtotf

25
The same exercise
in

groups of 6 notes

I JflJJiJJjJJJJJJJ^JS
etc.

Example

III

W-*-*

#-J-# i

3S
I
etc,

^
After S.Rachmaninoff

^ ijHTO-TO ^ M
ji^i
j i j <

4 i *

^^

Mi
^
2
3

5 g
u

j j

m
j

/7]|i^^^ /ii|i^^^ / v^
i
-

,#, *,! *-,! ^L. air ah in

I

jih nj ~

a<i

*i

Ti

jj

mn lll ^i

ll

ll

ll

fajfcjg s
I

jtet
ir

t
g

hm XE
at PHii

z igj

>

^=^ SiM
-O-

tt

M s oti
-fe

1
I

z z
z y

/.

z
i

I*

io-

y.

y.

^e

te

^
*

tty

i,

y.

ia
.e-

'

^
E
V

'/

'/

g
/

SttM

^^
a&
tt

/. y.

p
C. F. S.Co.4.J:ltt

21

95^

v.

si

* y

'

26

fefii a
IT
"'

j J j J*'/'/

^ j

sra /,//
tt
l

w
j

i iftw

3^
%

<

9 y-'

i: t

Zi

Pz

+-*

/.-/.'/.

^ftf^
1

I 5 g^B 3 /. ft f'fte c ^ SflpjZJ y m

''!/.*

^v^ z ***** rr^t 5^2 ^p^l 2 gppgggg IP3 i.

TV

s
i

#^
4*

#t Zt3K

*T
H o

^ Jl * *y

93

1EE2

EftI

f# i '//.*lfc

pap z
s

B3 ^ W'i>!^
=

eh*^** ^niani^>g
tei
.-

i=^

J J ///
ii

i^
/^

rf ifjg>^?

^^rf ^ ^ii>ii/ii.. ^s 19^jjjM*

>

#
^:

^f; &
i^:
r>

*'

vt
<

vi in

*
fe a
f f f

&a ^
///
!J

g a*

^3 i y.y.y.

m
*9r
i.i-

Z
*2r
Ati

>

gBS

l p I

ttriwrih

py

Kill

MI J

1'UI 1J

ITilfi -i

,tt
Kill

llMI

^,^KT
I'll!

MTT JTT

4EJ

^ JM

-vj

m- *t rvMv.i

^^

l^&L iP 3 P

b& a *
ti
fc]

tf*

^^^ 5BE5B
i F

Ba la
--

^ SKS ^^ S6S if* jpg*

#==
>>. ...

iwimtM-A hp

If

* .*.*.*

Ct

i
r
*>'

fSWi

i 581*1
*
3JI

I*

w#

iTOP*
f p

^X?f

k**^tf*

SW^
>t
l

oTT

Xf

-x+ i

HtWl

p||

p 4'ft p

xy ^lifi

^F'i

F^ f'i F '
,
l

-oj

C.F. 8. Co. 13

!6

27

SECTION
a) Play in
fl

V3
1 1
*
|

SCALES and ARPEGGIOS

2

different keys, retaining the fingering of the scale

3

12 13

? m,

^-^

L. H. one octave lower

ta
7

ffFf
r

Trrr

turn

^s

1-2
1

gl
m
7

-eter.

^
g
3

"
7

*^

-ete^

12

T?p*if.mprr
3 2
1

m
/

##
4
1

/./.^jfljff^l

^S
'/

yl^ A
^ y

/.

SE

f: "-

/ Z

C.F. S.Co. 4326

/.

/.

*=3

/ / /^ p T
:

ffM
r r r r

* *

]jaijjni^]jj^
j

^nj]]j,n

Jff [afflij

jflJffatfiJTJjjijja
jflJfftfri

flf^^lfljflB^lffl'Cttl
i

i rrr-r^-^j]

j jj jj^ ^^

flnumflflmr

#jpg

m.

i^

3B

m
i

mm
r r
.

^= Tf r

r r r r

JUI n
i

-T TJ

r _T

ff ff fr r

,.u
in

The same

C min. harmonic

Example
*
4 times

II
twice

^ s
>FW
-etc-.

&
tJ

^=2
-9-

m ^ijj^j'jj

C.F. S.O,. 13 6

29
o

mm S

4
i

1
1

1^ 4

SB
'

;&
4

i^
2

a
3

P
:;x

M digj

ffl
\# ~ \ I2

* ~-*-

gt

jpp
ft

1* *
I

* *:!*X**
is;

v,

^S

TT\ 1 5 i 84

TO
|fr

-*J=

s^ za

^ V
1

i
Example
4 times

g a
Pp
III
S2I

Play the next exercise on these six chords

^^^r p i^a
in
twice

#s

twice

/ g

/.

L.H. two octaves lower

^~y.

'/

k
J.

J.ji
ZZ-

rf>

I
I

=13
^^S3E

_/t

3d y*

kJ,

#
C.F- S.Co.
4;i:2(j

^f

1;

^m r
*
t;

#-=

USM
r

i
t*

fc

i
t>Q-

m R5
*

-rra
g

{>'

'

-ete-.

^^

i*
#-=

4
#

Example IV
Use these two chords
in

sequence as a basis for the following exercises

XT

I ^~

!-

T*^

&

F^
<9-

cto.

#-=-#
tJ

'

L.H. one octave lower

ET
C.F.S. Co.
J.;.',

ii

31

^
i
3

Fff^
54 14
5
1

^S in

-ete^

Wrist flexible

12

*4
2

B#
S* a.

rff*?
5
"3

1212121 212 ^4
:-

*=

A
3 3

Jb.

21

gNr^i3

212121212
454i454

12

145 4i

*
1-5

# d #
/

te

etc.

1-5

1-5

Hi
m_ m

i
TT

--

mmm

S
4 a
'

2 3 4

4 3

2U3-

^^

-et-e^

ii.4

4 3 2

12

C.

F.S.Co.4326

32
*

-0-

4
2
1

m
s
#>.

^
5 wa
-

'ij

i
f

H^Et ""ftjJ^EU

i^ifi
cto.^^P

*
I

3Sffl

^'

CL

SB

CTf^Erf
etc.

Different rhythms

J-

^
li
r
S-^

^
1

:/r^

etc.

I p?Nmw
Example

mm

as
1

-ete:

P
k 4
2

fP

etc.

V
2
1

Retain the fingering of the chord

isJ
2
1

L
3

|4

14

14

is

^P
^ j^n
-9-

m
iv
r

s
^
J '
i.

cJj- j-Jl

c^Lr

r r

1j r r

c-Lf "tr
i

r r

LU
i?Lk

lU

JUlnn
zac

rj3

^ 'lro

-ete^

*
C. P. 8. Co.

* _ *

^p^
43
56

33

Play the preceding exercise on these six chords

Kg
-

\>f

^f^ *

sE

r^p"

SECTION VI
Example
5
I

WRIST EXERCISES
8 V a. 8 va.

!
-0-

pi
5 3

SES
4
5

m
3

5
J

f=TF?

PP
J
#w.

i=m

w
J

y \t m\&
s

EEf
H. one octave lower

fcr

L.

gva.

8 va.
j *3

m
m
I

3E

J i

=^=r

;t
f

*=^* 3 5

^Fi 3

gva.

gva.

i3E*3

1=* j

ft

B=E3
?

eg
iJ
B

3E

^
I

*
3E?3E3

Mb

^^E^ij=^ b 5p
*#
ft

'

Fingering 4

5 3 |-j-j

Play
1

in different

keys
ova.

a=i=t
1
,

^=?
:.1

izt

E=
^

^5 i=a2
^

S
^

=
7=

JL
? 7
7

Ii a=S

&
5

etc.
-.

Up and down

CF.

S.

Co. 4326


34
etc.

of

mzzzm

'

etc.

%
Example
II
5 5 5 5 5 5 5

555

Slow;

after the stretch the hand

resumes

its

normal position

two oct ave s lower

i ff^f^i

IUL.h ,i.h i A
,

^^^^ rTri^Ts?
,

h Jiiii,* i^f* A,

>,i). J) i XT

ft
9J
f
.

.:

JJ4
3
l

'.ah

4
i

2.

iS^
i

4
1

il, i
|

h.

1 p^>_Mj{p'i,a

-s

^^
F. S.

i^^
4

k
l

r>i\ 1

^-, n4 rW, l^sh 1 I

\

Co.

35

,,^...,1 H>q> 7 BE j
ar m

^
i.
,

,i..^

gjM i>jj r^j'^M r: 'J

i

^-..h

*J>

*+*

^r

Faster, legato with up and

down

wrist motion

gg z JLTJ EJlEJlgBllg
j

^^f^^i^^^^^f^
"*-

I
3J

!Si
#
1

Ifet
Zl

l4f* I*

tS 5E
rf

*
LP-FCEJ EE-FC-E^

ffe
dPe i

# P
v.

iifi^i

j0 tAl* ft w ti i
:

)|g
-

#.

i
I

r t

m m

i r i r g

'y^r

ai I

t j s

fife

St

ESFjJTfc

Pi

g
#-ft# I

^^Jfffej^feg^
f>*3^

te

#ir*
i,
*>

g|

fep

>u

EKE I

8s

J-

r*

CF.

S.Co.

432(5

36

Example IV
rrPP-i HH i.ppff ^ r^ * J J
ii'i

n
/
1

J.

J. d

nVk FPffrrl^ *

BW^Pro^Wrrrp.
J S J

p-f * J

'"''i^u^i^ "
-,
:

3=f
1

1?

J?

'.,

',

II

^
:

rfrpp

&fci-=irf-p-f
J J --

i=is 9

iW

-- f-f f -=" --f" J J J J P * J J *

F"

zgBSg

-J- -J-

j * j j

I.

'"
.

"

..

,n
.

_j.

J J

J. J.

J d J.J.

_. a--J-

-P-

|.jP]f

ff ff |Hrr~wr p

]*"

f p p

i l

I;
i

Jffi r f

fp

r r

rj^
1

P P f"f" P P

/
E

fl

'

J. J.

J * J J.

'

-^ ^i-^^-^-l

-Ji

j J

EJ

J1

II

n^te
i^JZ_^

!mP

P-P

JTTI^ r r r Jffl
fL

a"

i
B-S

i^jz

i
j

flrr-ff?

^
j j

tib

jffljp]r r
J.

J?

ffl^

$%\
y
; b

BR pf-fr p

p Ht

ffPrf ffrri n

ffrffrmffrr^rm
i
J J j

ffflff rrffp.
'^
J J J
J

1 '

j j j

p^

'

ffPPftrr pj^-^H'^ jJJ aadfl

p-p

I F
5
C. P. S.

*fc

W
#-

^#te ffi

m
Co. 1326

m ^

W
l

fflff r

ft

ST

Bff

37
Ht rrrCffrri r ftftffi -F#to L r KLLl.LL H rf-f j-pKp
.1

ffi_

r r

rtfttt

(2

-S>

iy

W
t
JL

=i=5=

=*=BZ

-=i=

LB

Lit

flrrfrm g-pJl J-J-^g

j

-a fP'T"rpp
1

J J gj ^g-K-^J

^^

ti:

ZS

Example

V
3

aH*

E=

L. H. one octave lower

ua P*
s va.

*
BE

-#-

r
guar.

ti

8 va.

4
"1

4
I

si

=f

I 3^

&*
:

** S3

fill

^
I

'I ^i

m
I

-H fl

'tLFg #^
r=F

gv*.

=fE?
r e=
h

e=
r
ft

t=^
#"<*

A iM

ttfl

sn
f
I

S ra.

t
I

fl

fcH
#/..

l=i =*

fl Tt i i=T=^ i =^g= r

n^ iiPiS

i r?
C. F.

i s

^^Ii

S.Co.

4:ll(i

Example VI
l>
fc

ite

p ^ --^

:=*=?

J. J.!

>

J J. J J,^ * J.^H J.

yfr^j:

#1
#fH
a

DC
ff

etc.,from all

notes of Chromatic Scale

f
szja-ta

a=
in
*#

* &#

r^vvl
ZEZ3II

*= I
#

mj

P ly 1r h*rmtiE i

\,

:?L__r:

C3
^=S

3EI

1 *=A

* *
8 va
b*=*

te te

i*

53

^jj
3
it

^* ZE 3

twice

*
j. J.
1>J
I

^ 7T1
* go

=3

*pt
?
te= i I

*ftte
s

H^i^P *S*
"*"
' *

I *^l*
fc

te te

t#-.

-*

13
va.

in

5
k

*
pk

iEfi

IZEI

a
m ^%
I

iti

5 1

RhF^ twice

is

*w

^m

efer

13

p^

Continue in octaves

^^

~t+

j^j

i>

i)

^^a
:<;

is 9

Li

L
M

etc.

C.F.S. Co. 43

MAJOR
8 8 8
8

39

jT3 LIJ 8
simile
i

lU

C-T-^

r r_r

m cu^^^
j

jnJ'J ] iuj o 8 8 simile

<g

rrr fLr-nn
A MINOR

j^pi
g iji

jn fl" 3

[r

8 8 8

EU n?

simile

F MAJOR

m
ft rr
r
r

B jp-m eP
rfrfrfri
ji

8 8 8

simile

^
D MINOR

LL/"

^f3
I

e^
PS
u 8 8 simile
1

-W

f^fffto
C.F.S. Co.
432(5

S^S m

&s
pp
-e+err

1
40

SECTION
Example
11

VII -

DOUBLE NOTES

Legatissimo, slow, holding 4 notes

2

2
5

2 5

'4

L.H.two octaves lower

Leggiero faster without holding any notes [4 2i 4 2 j>
1

Fast

ffflff^frn

m
i

etc

eiih

30:

Legato between two voices

in pi m m m in sn in
r
f-

mmmni
etc/

-r

'-r

r-^-r-3E

J7]j gy
p

j-ij-,j

mr lit cLr
-Lejp
*
?
,

S r g
-s

m~
r

dlt

j .

,mj rnJ rnJ rn4

r

^ciJT
-etc^

Llr
i>i

'

r^dJT^S
7
etc.

*
p

B=B
p->
p
^
fe-3.x:

ii ii i
i
7

J * zzj

.:.

EJUJ^Lll
il

^-4^
-ete-:

-ete-.

0-T
II

Example

:UUv
L.

'to
i

H. one octave lower

wawi^iju
:|

| v^B J33
(
.

/y

'

^V-M^' JR

^i^ 5

iiiQfl?

'-^y

pH

F. S. Co.

43

56

41

1 'iHit t i

i t

iii
^3

* i

'"-j-s

it

^s
r'

^=^

Pi
i i I * d

^=^

a==:

1 nj.l>
Use
different

2^ g'^ifiiii " i^i

I
jj^

5^ m ^

rhythms

7|g^g^

WjgPP
W^:*
1

-ete^

Ji^gy M*l:
3
1

iff

S
J
1]J

">

ff fEjy
J [J J J ^E^E
1

11

'

**

-ete^

13

ffp

#
2
a
1

te pi 3

J
J

3 J

i i

ff

J.

* J

tt

1|J

s
J
|>

pP
5

^B
III
4

5
1*f

-et<^

Example
3

2.

Ff

TtTrtHlt-nn ,dj,i t
\,i-'

m
fi

'7

3d

.y

J J

-7

3^,'^jJ

-7

m s Qj "^Z^WUr Lij^UJ
$f
JT3 t-JT3i.ni .HU73>7

"

C-LJ

m
I

5p
.1

3^!

S 3eS

l^v^^ f

?3'l

7 JJT3^ g
-

U*^*
r
4326

*
r

*
-7/ITr

ij.
-7

-7/"L2J

?rT

?/

If ?/"^ 3py. ot f

l*T

'?/> 9 f

C. P. S. Co.

42

Faster, legato

L, -^#

(9ajl:

2Z3

m
s

^1

^
?=
f

J I

=
legato

m ^3

I
Ur

s^
After N. Medtner
5
3_

s*
nel^

Slower, legato

a
Example IV C MAJOR 3453 4

sH
I

3,

21

3
5

f 4

35
o
e

43
2 ~

5 3

*=*s f 3
1

p^^S^^p *#*
J

L. H. one octave lower

C MINOR HARMONIC

i-jJJJJJJJ JJjjj

mi

''

'J

J J

j ?T^ 1
i

fel g *%
'

i *

in*
'

as
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44

During his long life, LEON CONUS was regarded as one of the best pedagogues
in Russia.

a musical

He came from French family,

were Rachmaninoff, Scriabin,

who settled in Moscow, where the author was born. He received his earlier education from his father, and later, the Moscow Imperial Conservatory, where his associates as pupils Medtner and Lhevinne. Upon graduating,

he devoted his time to teaching for several years at the Imperial Conservatory of Moscow, and later in Paris at the Ecole Normale de Musique. In 1924 he helped found and establish the Russian Conservatory in Paris where he became the vice president of the institution. Leon Conus moved to the United States in 1936. Here, he became Professor of piano at the Cincinnati College of Music. He remained at this post until his untimely death, January 18, 1944.

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