)

~ '\
for \

.. . A~<. ~. '//~ ,-0 \,' , .~

:~ElenlCillnrv (~>
-~ - ~
~.. l
-~;

-._\'/Ei3.Iio:fo~rte~~Ins:truc~fl'Oit. "; ,
;_:: \ ' ! I Q_; ' ' ) ' J

./ /!i't',. { ~;; r;:?-~=. ----ely ..... ---~---~----- ~-- - ' ,, - '~)-~~ ''li/ .
-~.

~ 1 .___,----- ~ .
'tt./

-------.'
~

'. ---------

- -

-~'~:ml_ ir_it~_'_; li_-""_lr ~r_lf~~,_i,r~~

1~j r~lif:l~J . /!~l~\ irrt_.~r!) ~~~~~~. ~-~-~ ~r :r _~- ~-~ ~ r~t~~~ ~~,~--j
~Wr~\ .~~.,Xir;~; '~le,.llift~,j
4:11 -"'} ~ ----
~:.u~
i,wl~i
',\?
~~:rr~~,~l="~
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141 \~ !!I~-';) "'--~ ,_,_., t.~ ~~~~ ~l~~)
>-"~
, ,.
.:;1

_) ,~- (
_

Book I. Techni~~L- Sludies. Finger-exercises in the compass of a Fifth. Pr. '

Book ll.Exercises and Pieces. ____ _ __ ~----------------------- _-
Book mLittle Four-hand piPCPS in the most usual ~hnor ~fodes.
I supple1nent to Book ll ). _

-- ----->-~~~~-<+- -~ . --~----
'" t' ,.

BERLIN, M. BAH N VERLAG NEW-YORK, G. SCHIRMER

Koni ql. Hof~ Huch- .~ Mu sikh and I Pr 3 5 Cnion Square.

Book L Cop.\Pif]llt lRR:~ by G. SchirnlcP.

Boo I\ II. Cop_\Tinht J<')~r) by G. Schit'nH'P.
Book lll. Cop_\Ti~Jhl lo~:) by 0. Schirnwr.
. \ .. ,
 - &__
3. //~ -~---
\.:_ ____. ~ ) I
,....__/

Book I. Technical Studies.Finger-exercisesin the compass of aFifth. Pr.

Book ll. Exercises and Pieces. ___________ ---------------------------------------------
Book Ill. Li11le Four-hand pieces in the nwst usual :Minor Modes.
( supplen1ent to Book II ). _________________________________________ _
~
--~~- ~-------------

BERLIN, M. BAH N VERLAG NEW-YORK, G. SCHIRMER

Konigl. Hof-Buch-& Mus1khandler 3 5 Union Square.

Book I. Copyright 1883 by G. SchirnlcP.

Book It Copyrighl 1885 b.Y G. Schirmer. '
Book lll_ Cop~rright 188S by G. Schirnwr.
 Finger exercises are the best means for preparing, developing and preserving a well-rounded, correct
and beautiful touch. While even advanced playets will still profit by their use, they form an indispensable,
necessary foundation for Elementary instruction. - The order of their succession, and method of studying
them, are not matters of indifference. Simple as is the material, it requires systematic development to turn
it to, good account. Accordingly, the following exercises have been grouped (invention, proper, being out
of the question) with a view to such a development. In consideration of the plan of instruction in the classes
of the institute for which the entire work was specially written, it is divited into Courses. The present
Book comp1ises the first course. Finger-exercises in the compass of a Fifth. The subdivisions are provided
by the text which preface the separate divisions. As to the study itself, in general, we remark as follows:
1. At the beginning of each separate division, under the title of , Clavier-section" a series of black
note-heads designates the digitals* of which the exercises of that division make use. On these five digitals
the hand and fingers are to be laid and then formed. Only when all rules concerning position, etc., are
stric:tly followed, is playing to begin.
2. The exercises are to be played at first with each hand alone, slowly, and as forcibly as is pos-sible
without degenerating into stiffness: care being taken to secure the greatest equality, and to compensate for
the want of strength in the weakest fingers, the fourth and fifth, by lifting them with more vigor, and by a
broader touch, as compared with the stronger fingers, especially the thumb.
3. Every exercise is to be played several times in succession, for example four to eight times, with-
out interruption.
4. In proportion as security, equality, and distinctness increase, the tempo must become quicker
and the touch lighter, in connection with which the shadings of crescendo and decrescendo <> may
subsequently be introduced.
5. When all the exercises of a division are conquered, they may be played in unbroken succession,
either all through, or in larger sections, with a twofold or fourfold repetition of each exercise.
Playing in time, with the accentuation, now of the separate figures and of the first beat of the
measure, is to be strictly observed, especially from the Third Division on, hence the necessity of co~nting.

Bematk: Although the instrument itself provides the best means for forming the touch, in these purely technical
studies, nevertheless, a dumb clavier with movable digitals may also be used to advantage. It should be placed on a
support ii.n such a way that the player will not be forced to neglect any of the rules concerning the positions of body,
arm, hand and finger.
*The levers (so called keys) of the instrument which are operated by the digits or fingers, as distinguished from
the peda1s, or levers operated by the feet. The Translator adopts this term, already sanctioned in England, for avoiding
the confusion arising from the use of the word keys in this sense, and in another, widely different (viz: ,tone-families").
Accordingly, the word ,Clavier" is in this translation substituded for ,key-board", and ,Clavier-section" for ,Section of keys".

-----~------

Copyright 1883 by G. Schirmer

 I.
Exercises for strengthening the fingers and cultivating the knuckles.

The separate repeating strokes of which eYery exerei::;.-~ !'onsists are to be executed at first s1mdy, forcibly
and without oYerstl'ict regard to nwasured time. The weak fingers ( q_t_!t and 5t.!t) deserYe particular a1tention:
the highest possible elendion and prolonged tarrying aboye the digitalR will contribute materially to thtir
nPet>ssary strengtltPning. ln order, fnrthermorr, that ihe occupied fingers may Jearn to move independently i.P.
\Yithout the cooperation or the other fingers, the rest of the hand, th~ arm, etc; the unoccupied fingers, as so- ~al1l'd
-.;upJlOrting- fingers, remain throughout the cxereiS upon thr digitals assigned to them hy whole notes.
The hand and fingers having assumed a correct position on the clasier- section appointed for them, thP
~dwo]ing begins with onP finger at a time (X<::-; 1 -5); then follow, two io~cther ( 6 _14 ), three together ( t5
- 22 ), and finally four together ( 2:1 _ 24 ). Each hand to be takrn alone. The hand being graduaJly freed from
nJI supporting fingers, a natnral transition is made to the first wrist exercise, Division II. For the sake
of this transition the exercises in sharply dissonant combinations "ere unavoidable. The nse of a s11Pht
JIH'('hanism with movable dig-itals (so -tailed dumb piano\ affords a relief from this P\ i I.

ClaYif'r_ section. a.t. 2.

r-k
" ~

--
1 2
--
3
4
..... 5
0..---...
\.l'-''-
\ ) I"" - ..
I"" I"" -
I""
C\r- .....
.r-...-
~
-- C\
...
.....
~
~
----
r- ,.. I"' "'""".......
:-
'-''\. J
~ _I

l
~ ' ,I i
f{) tJ i

-- -- . -
I

-
- -...
I
1 2 3 4

-
.i
cJ ~.
....,. l.'l
R-.., r- I"" r- ,.. .....
'lr"'-
"',......,.
,..... ,.. - ... \. .....,...
1..1?--..:
I II
--:7
, , 'I

I I '""' !"" I"" I"' ,_,

I I I I ! I
!{,..)

:l b.6. ...
I. 8.
<:~
......
~
<";)

J)

10. 11. 12. 13. lJ..

~ n-....
_,
_.._
n ..
=-- .- - -- :::;,.
.....
'. -- ll C\ .-.
..-- --- - I ....
~ II
;..
-
.I I -.,.'-f ~ (.~ ~ ~ 1::'11..1 - ...._' J La l..A La
J/1/J "'-" (.~ I"" I"" I"" .....
_1.._1"':_ "-" ~ \.) I"" ~ ~

I
It)
'-V --- I I
l
I
t

\
t
" .....
..........
~
... :;..--,.
' '1'J'
---
...
I
.,
I
...
...

'""'
.,.,
I""
- -... ... -
':;;;,.

I
....
I
:0.
I""
!
::a
!""

I
...
"'-"
"~--

- - - --
I I
.,
! I
"'""'
.... , J
... J - --
I""

I
II"
1-
I""

l
\.a
I""

I
1."\
... ,.\. "l.
-~
- --
-- -
r-
...... ,...
.r

I !
I""

20. 21. 22. d.23.

Cup~ ri;;ht 1-;aa by (.i. s. !.irnl''l'.

 II.
Exercises for the cultivation of the wrist.

The mwmplo~~eJ fingers must take, in the stroke of the hand, a position which will prrYent tlwm from toudl-
ing the digital~ in the down-stroke. L"p and down strokes to be counted, and example 1 regarded as a
pattt>rn for the follo,dng ones. 'Yhen the motions of up and down strokes haYe been practised and become
regular, only the moment of the downstroke is to be uuunted.
Aftnr the downstroke the fingers should remain for an instant upon the digitals. Each h:and is to be trained
alone; the ld't hand plays t-wo oetaxes lmn)r.

Clavier-seetion. 1 One! Two~ One! Two! One~ Two! OnP! Two! etc.
4~)
~ ~ II t'plrolfu fJ ~
Upstroke
Downstroke
fJ
Downstroke
~
t]Mrillfu
Downstroke
fJ~
t'}Mrolfu fJ
~
S l'!timesfj
Downstroke
~ :J. '&,. 5. 6.

~"llffff et~tt111 etc.jjf111tc.jj~~~~tc.jl

~ s. 9. 10. 11.

~fi lc.ii !1t1

tc.ll$:f44ete. tFffl etc. If r r r M
16.
~
13. 14.

~~r 81"11,. 111 et.:.ll f11 "1"111 t+ 1 tc.ll111 ~

~ ts. tu. 20. 21. 22. 23. 24.

~ f I f$UJ FFFFI r rr rtf Fr [If r r LI r r r r I

'III.
Exercises for two, three and four fingers respectively, in
legato tone- succession (Contrary motion) .
In legato tone- ~uccession the alternation of fingers is the chief care. CorrBct alternation consists in the
ability to strike with one finger precisely at the moment 'dwn the preceding one leaves its digital; ac-
cordillgly, neither a separaiion of tones, nor a bimultanrous sounding of preceding tones is permissible.
The trill-like exercises 1_4 are to be played siO\Yly, forcibly and \Ydb high-lifted fingers. All the exer-
cisf's having b{wu studied with supporting fingers~ thr latter may Uwn be omitted. \\nen released from
them, the s1tudent must seek stricti~- to avoid all roopf'ration of tb' llflt'mployed fingers, the back of the hand,
the arm, etc.
a Two finger~.
1. a. 4.
 b, Three fingrr~.
10. 11. 12. 1a. ti.

J:l. 1f:i. 17. 18. 19.

~~~~~~~~~~~~~~
~~~~

...or .c, Four

)
finger~.
29 .

37'. 39. 40.

'I
42. 43. f. I.. 4~.
l;

IV.
Exercises for 2, 3 and 4 fingers, respectively,
in legato succession (Parallel motion).

..
Clavier- sed ion.
a.
~ "~
J.

...............
2. t.
r
.. ...I
.1. l I l

-I ....._I I l

(~
l L i l
2
-
: - -T-

.. .. ... .... :: ._._. = ., ~ """ """

----~ """ """
-~- --~
,a'

, '-' ... ...

-.
...i ..i..i...i """ """

\ 1 ....__._
....... .. ,. ... ,..f-~~,_ ,~.,~~~---'
-t+r*-~~
-~
. . . lo
( J
~-
1 ---2-- -3---- /j
_;.--~~---.~-~ I""
. ~ _-:E-+--f
-t- r-f--- ~'
~- o)

=. . =.. - -
12 1a. 1 f.. J.'l. 11; I.

- - - -
~
A~-
... ...
..L
_tf,.., -
.... ....
~-
....
= ....
-
....
-
....
- .... .."""
- -.,.
....
"""
..i
"""
=-~i-~ - I"""

..
.., """
...i-..!....1-...i ..,
' J """ """
~
... ~ -~ __..,.._r- ..

- ,. ''"''-
..::::.
. '---
~-
_j_
T
J. .
.
~
r- I""' I""'
-
t- ~ "('- ~
-~--'--'"-'
I"" ..
I""
!-, I""
.,.j
f f!. ~

30. :u.

Tran~ition to thl'
36. 3!l. 4-0 f1dlowing llivision

~~
....
'.-""".., . ... ... - ... .. -.
....
.... ....
., ....
- - ....... -
........ ...1

. ..
..I.,-.... ......
-
_ ..,..,...,...
"""
-....
-.
...._,
-...

... ...
' t_'
~--.-~- .. ~,. -... "f"!- _.,..,._~.!- __
L$
. "f" -~-
I~ ' _r~
r- I""" I""' I"" I"" I""' . I"" I"""
. _l_
......
' 'I

-
71 1,1
 v.
Exercises for 5 fingers in parallel and in contrary motion.

After each exerCJtir has been repeated seYeral times in paral1el motion, proceed immediately to the one foJ -
lowing in contrary motion. As long as the ex.crcises are studied slowly, accentuate the first note of Pa.dJ
figure; in quicker tempo only the fjrst note of t"'ach m e a s u r e . This Di\ision is c s p c c i a 11 y imp or-
tan t for the foandntion of a pearly, well-rntmdPd and eYen tonch.

1a

(' d

t;J: bh rr. p rv fFr.," :jl:~ p ~: Hfii: rj HF:II: r[fr 'L Uff[ffif?:

71'.1
B

H.

~~~~~~~~~-t-E:

t~~~~~~~~~d
 ~
--.
, .. .
"""liT
A
J
JR.
- r-
.-.. . l"'

le
--, ...
~

""
- ,...
__J
19
,.:a . ... --- ..- . .,...-. ..
1"

~

l"
.-r -
.
~iT I

~
7
T --. -- l""
--.. -.:.;;,a . . ._..- --.--,.- ,..... TT ,-
!"'
1"" ..;.
l"". ..- .. -- - --. ;
....-.

---. - ("
-.:..
-~

-

..,....,.....
~
----r::I
22

--- .- -- - . -
,.... --- .... - - - . ...
~ .,...... -
,... -,.... ,...- ...... --1"" ....

.
_,_,... ..... .,....
,... ... -... --I"'
-. .- l"" ,...""" ....,...,... -... . I""

..... - _ ... .......- -.. . .....

t)

_....
~
~y.

7 -. ~ l""
... Il""' -.I"".-
.l"" I""
I"" -,.... -..---. ,.....
..;,;;.
lo
, l""-
-.-.. I"'----- ,., I""
- --. -- ....., l"".
- "111"......I"" ..!""
.!""--. ,

-... . - ... -.- . -'"'...: .- -.

23
jl"
...,.""
.J

- - - ... - - -.
.,...
...
I"' _,...
--,....
.,. I"'

.
......,... --. --. ... - - - . ..-I"'-
...
... --.
,... -,.... ~
-
111"'-.. I"'- - ---
!"'
...
.
-t:

~
-T
7
...
-. -.. -!"". -

-
!""
--
-,.--.-..-I""
!""
- -. -

. ;..;
!"".
....
... -
!"".~11"-
~

...
-- .--. . ,
I'""
- ..;,;;.
" ! " " - . !"" ... !""
.. - --. -
I"' ..... -........-.
!"" I""
'""

....,....
~
A
_j
2 f..

---- ~.--.111""
.....
-- -- ... "'---.- ....- _ . I'""
....
2.).
. -- ...
..... - - - ......
-I"" . . . . ""'

.
I"".-
. -
..
!""' - . - - . ,_. ,...
..
.
~
I"'
.... - !"" ~

~~
-

t..T

~~
'
A"T
7
--.-. -- ......- .......... I""
"'~~
- ..
fT
.--:;;;;;;
--"J-
~ .....- ,.,.............. . . ...... ~~----~-
....
.......-. ..-.... .......-- .-.II".. ..-..
,.. ~-
t"'
1""
'
-

-
!
"
r.-.. --
JJ
.liT
26.
-.. . - - - - . -- ---- - . .... ........ -- -... ._.,.-. .,.- - .... - ....-
,- l""t

I . !"" .

....,.
..
.!""' I

,...
I"'
,..

'~)

~
T
/


- -. ... --. ....-.... . .....
,....
""'
- ..-- ..-- ...- .. .--... .... -. - ........ ...,-,.._.,...
-- - ""'
---
....
--

... ... - ..


...
""'
;,..

""
~~
~
28.

'J.l
-.I
II"
.- ~"'
- ,....- .., - .'""- ..
I"'- ~ !""'.
"".. - - I"--
'"".,... ...:;;;;;.1"'
,.. -. ,.- -.,.--. .......
- ........ ---.
--,.--.,
.
n

\ t_.T

7....... --. ....

~
I
-.'.... I"'-

-...--.-
~

..-. . -.,.,--.
~
...-
--.--,.... -- - ,.,,

-
.- .

...
,.,..
I
-
~---"111"
....- .
-
l""
lo
!

--.""'
,....,... -..... ... .- l"" ..,
!

71W
 VI.
Harmonic Figuration.
The :-;irnplPst harmonic figurations. Thr material can be farther enlargeu ,,-hen b111h hands play together,
by CXl'hanging parts in the different exercises: fur each t>xamplP in Ow sections designated, respediyeJy,
as a, b, and c, may serYr as Hpprr 11]' lmYer YOIC'l' f111' ;111 otlwr exercises in the same DiYision.
For example:

(The right lLtml p!a~s P\t 1 rrist~

l-4 to the batw-fignieofN?t.)

The transitin11 io D1,.1s.1rlll

. \'lJ ~~.--. f'r)flti"(l
, l1'", L~'t.'J'''l!--.'"
L"~ C' , '1 _ >"
)!:
.. ... ~,, In ''"1JH'
h IP
sing t ones an( l dunble notes
al1 ernat ,_,.

i 8 .. JO 11 12
" I
....l .L l l
.....
.. - . ... . ... - ,. .. ... -
- ..... T I I
I I l I I ! I I
....
lilfTTTil
.... ..... 'Iii
- - ... I l !

. ....
I. I
....
:

- - .. _.,._.._
j ...! ...! .....
t ~ ~-# - ='!--J- ..__
----.. .. ... ..._ ----..;-
.....
..... .... ~- ~-

...
. .... .....
"T
t_l
....

!_.'-
,.. L-t~- ... "- ....
~~- ... ... ..t. t ......,. ! . . ..-.'-*
-
,. ....

! .. 1. ... .1..,__.,..
-~

f~;
I
-~- 1- ~

b J'l .

... - - ... ..... -. ..

Jf) . ~

. -. --... -...........-... -... ...... .--

~ll
l -
A
~ ... .... ... . ~-
_L 1 I I
....
I I
... ... i

.. -- .
...- .........
l
~
I i

.....~
I
........ .........-
...I ...
- ...I
..o~

-....~
.....

-
,_
~ .:..;-.- ....
""'
,_.,. _,_ ... . -'- _,I
\. J

'-'' l
,_,.~ r~---~~~ ,. 1- "~'-*_..* . .r-.,.. -f'",. ... ,!.
<

~~ -
,.. ,..
q:
.;'
]

--
--+--:!""
' ,
;-'
I
' I '

.-

13
- 20 2l
~~--J . ~~- ~ ., ~ ... ... ..... ..- .. ... .... . ----,;- -.. -... - .-
'-'
,.,
-
- ==-t=-::--
...
-.-
- - _-#I-
~ ...
....

1- ~-4-1': ,_
....
-.--~
.... .... -~

.,_
.......I
....
.... ...I
....
.... ...
.a ....

' II II t .... .,.. ... t.! ~-~.,...;.
Ilc.. __.~
'~- *E*'-
,., -!-. 'ill ... ....,
I""

t :-
! T
' . ! .

+-
....---

-
I

.. ..
.. 2H .. ..
-.
I

- .... -- -.-.... -..

-~-4-: I : I r I i [ f.!..&.
~.-
.. .
I '
~ :;;;- ..... ...... .... ....
... .......i -.-
~-
....i -1 :;..!
~ -.- .t. .
I
... ... .. ...
-:.
.. ~

- -~-
I

, T~ ~ -~
~

'-J
,_
.
f.)

iJ:t!f'~
1-
~~
--i

--i
II ,f.~
;- ! -----!-t"- r!- ~-=- . f-A f ,.!___._
-
_ _ L.......e

_.__ ______
 VII.
Double - notes.
Tlw sounding of single pairs of double- notes has already been put in practice in DiYision I ( 10 _ 14- ).
In this DiYision the problem is to secure a precise connection and precise exchange of tonPs. Upstroke
and downstroke are to be carefully prepared. In the former, the fingers must be raised e q u a 11 y high ;
jn t}Je latter, they must strike .s i m u 1tan eons I y. At first, Yery slowly and strong! Examples 1 _ 1a
an to be studied not onl~, m eontrar~' motion bn1 also m parallel.

ClaYier- :-;ection. t.
.........
~

vlft.
Repeated sounding of one and the same digital without change
of fingers and with a supporting finger.
"\Yhen a digital is :-;tnwk seycernl times in succession, a legato in ihe strict sense 1s impossi1de. Th8 re-
sult, ( especiall~T ''Then supporting fingers cooperate) is a medium between legato and staccatu betwt1tll1
kmwkle_strokP ;1ml \Hist stroh, staccato from the knuckle. f:YPTY single figure is to be aerentuated.

H. 10. 11. 1:.!.

 I '2

IX.
Repeated sounding of one and the same digital without change of fingers
and without any supporting finger.
~~ udy flilrlt I~ in tlw ~rn~ prtstribed in Division \]II, and part!~ a~ \nist f'XPI'('lSI'S proper.
( 'l;n it>J'- ~~ectinn. 1.

j
J
,....
...""
~)
,..,
l..ol __ _....
-~~ ~
- J'"",..
. , . . . . . !'"" -~.-
~'""
!'"" ~'""
,..,..
..
--~!'""
- - ,..
... _r . . . . . .

- ........ ...,..
!'"" -~I""
._.~ --- ......
~~-
~
n
l
<
i
....... - ...... .. .. ...... - ---
_fL...
I ,..
-- ---,...
-~1'""-1'""-
'
~
!'"" I"" r" I"" -- -,.. '-1'""---f'
..T "" I""- I " " . - -
!'"" l"' -~.~ -
!'""
. -
I""-!'""!'""
.....
Tl
.TJ
 x.
Double notes. Wrist -stroke.

............ .,.,. ------. ------ --- .... ... -

6. 7. 8. 9. 10.

'~
~ir
-- "'-:l
- - - -
--
-.or -- -- - --.,.
- ___ -
-- --
::...- -.--.
..I
I"' -.---.. ~
- ,...~., ,..
__.
I'S:: . .

i- '::;,_':.00.-
. . . . . .-ri"""J-
~

........ ..... -... ....

(
.,.
. ./ 'II. ~
- - - -\ -

....... ......
- ---
-- ---
--,..
...;

- ----
I"". - ....
-~,..--
I

--~-
-~.
-..-
~~ _,...-
-r.--w--
~

-

:::O.W'!
I"""
!::A-
I"'

.-.--.,...,..,..,.,
'-":10.1.-,~
 XI.
Legato and Staccato simultaneously.

Appendix.
A. Thumb and fifth finger are called outer or boundary fingers, the others middle fingt>rs. \\'ilh respect to
the position of the outer fingers, we distinguish a luwer, middle and an npJWl' position of hand. ln
the lower position, the thumb and fifth finger rest upon lower ( "hite) digitals; in the middle position,
one of the two, either the thumb or 1ho fifth fingrr, rests upon an upper (black) digiLd in ihD upprr
polSition, both fingers rest npon UJlJWr digitals.

"'19
 ,..,
In the exercises of the foregoing Divisions the lower position of hand is represented throughout. If we wish
to introduce into the province of our study the modifications which arise from the employment of the middle
and upper positions of hand, as well as from the use of upper digitals for the middle fingers, no new
material is requisite, but instead, only the insertion of accidentals, and transposition. Thns a modification
of the lower position arises if, for example, the exercises of C~major be played in C-minor, G_minor, A-
flat major, thus:

For the middle position, tht: C-major exercises may be played with the signature of D-major or D-flat
maJor.

For the npper position of hand, transpose the. C -major cxerei~es to C -sharp major, those in G- major to
G- flat major. .
B. The first of the following exercises are examples of a mosk contracted position of hand and fingers,
nuch as the chroma tic scale originates.
Exercises 4 _6 form the transition to the 2 1!..cl Course, and, by excluding particular fingers otherwise
properly in order, preparr the study of progressiye passages, and others based upon changes of po ~
sition of hand.

.....,.. ... ,...,,..

~
A
,., ....
1 I
,.~.....
,q""V...,
... I-
...... , ...... i
,._ - ..
-
I

1""1'11"
1
.... -
I"'"'"".,.._ lf.at'-
...... ;, ll ~~
I
... : .
""'I""CJ. ,...,
,..,.,_
"I"
Ill
.,,! . . . . . :Jtl.AI""f1'!"'
~<If+ !'I ' , ..~k~@!~
~
f I
\. T
t.,
~
I
... _ _ ---- . ,. ...-
'
~.

~
-,.
-
..........,.., ,. 7-..- - )11--- ,._ u
Ill; I"' ,..VJII"
.;.;
,..
.....
II"
'I'" I
-~- ,~,.~X-~!"'~111" ... ,.1'!-ll
.-~~--A II"
II II

"'1"'~1"""
~~'-~,;;;.;;

_LIT_ JI
1ii

ra
~

\. ,J
A
II#
il#
.... '
.. 1"' . . . . . . . .
!'I
....
.,., .,,.. ,x-"""
w
,_ . ,...,
,.,
"'" illrr nr
3
,.. ,.. .....
11-..~<-'
<:r
--
"" , , fJ-il
- ... ~II" rr
-
.,.,.'!"' .,.,~. - .... .....
Ill"""",
I
Jt.. -
,..,,..,..
;-
- .. -Vfl',..,
..,/:"'" . ; . ,.... -~
r
I
I
tJ j

l
a a
-p
__,.
-v ... ~.~
,.,r . .
f'
!.1
nt
,_,. _
, ........ JII x ,'rl-r
...,.., ...- ,,."" ......- ...-
_., , ... :.-...
ll"""rl ,., .....
'

.......... - .,..,__.,
__._:,.
!"'-"
,..., . , ~
- "'" illrrrr wrr f'
rr
L 1 1

~
l- 6
- - , ...- . .,- .....- ..........
..........
1 3 1 4
. - - - .,..-
1 5
- - -
- - 11".,...,..., --:--

- -
I"" . . . . --.. 1""

-
l ""'"
~'
1 3

.--
, , ...... _ ...... - - ......... -
I"" II" , ... I"'
1 4

I"' ... I"" I'"' I""

1 5

-~- -- . -
Jill' ,.. II"'
I. '\'

iiiiiiiii
r
l '
 _/'~-

(~~) By
----- - ~ --~

Book I. Technical Studies. Finger-exercises in the compass of a Fifth. Pr.

Book ll.Exercises and Pieces. _____________________________________________ _
Book ill. Little Four-hand pieces in the nwst usual 1\finor Nfodes.
r supplen1ent to Book II ). ___________________________________ _

MAGDEBURG, NEW-YORK, G. SCHIRMER

HEINRICHSHOFEN'S VERLAG. 3 5 Union Square.

Book I. Copyl'iUh! 1R83 by G. ScltirnlcP.

Book 11. Copyright 1<"3~f) by G. Schit'I1l<'l'.
Book lJI. Copyriqht 188:) by n. Schirnwr.
 a

I. C-major.
A. Material (for the use of the Teacher).*

1. ~ ........ o ......... ~ 2, Two- two measure. 3, Four-four measure.

I
: I
( . ."~ ...r 0 0 t
1 - .. ')
1 - 2 1_ 2 _ a _ -t-

.
ll, The Double Bar as sign of a
larger section, or the close. 5, Sign of repetition.
,~

II t=t IJIB I tt :II= I $1 or ~1:n~:ll

,, ""
6, Table for reading notes. (Tone -compass of N'! l-1~\
1'\
-
I t) ,. .. -
I n m I\" v

t _ __.. ~

"'- Example: What names are given to the kinds of notes sho'-\'ll under 1? How do whole, half and quarter- notes differ
as to form? How as to duration? (2) To what species of metre does two- two measure belong? Count and play the
example. (3) To what species of metre does four-four measure belong? (6) Whirh digitals ("keys"! orrespond to the
note- heads here g-iven'! What is the name of the upper clef? Of' the lower? What are the names of' the notes on
lines in the first section? Of notes in spaces in the rvt}l '? Show me the note whose digital I now strike. etc.

B. Exercises and Pieces.

Clavier- section. Preparatory exercise in counting. Count aloud two beats. One, two!
4 5
.. I
2 :l
Jd
Ha b
1

f ::
e
: It; J2Q] T?"=r I ~~ I g I
2 :J
~-

t 5

II 8
1 - 2
v
1 - 2
\
~
0 '6-
II
I

1 - 2
v
I
I
1- 2
v
I
I P"
I

l -
v
'6'-
t

I
z
rfl
1 - 2
v

The same fingers in both ltands.

2~ 3.,
I.'
...
-- ,,..,
I
,.., .... ~
r.J ,. ,.,
,~
f~' r.-~
_J .

ii"
,.,
I~"
,.,
~ .. 'I
_...
J
,..,
~ II. 'I
,~

~ .,..,
1-
I. 'I ~

~ ,,
[.I ''
! --~ i

1_ 2 1- 2 1-2 1- 2 1- 2 1 - ...
'> 1_ 2 1_ 2 1_2 t- 2 1- 2 1- 2 1- 2 L2

... n
....
f)
.... ~_J ..,..; .ri ...., rf .r-..
4 ... -t
r1
0 V' -&- "-/ ~ ~
~

0 -6- tfO ~ ~
"0.
'-.I

()

f npy1ight l8H5 by G. Schirmer.

H.V.571Sa
4

4, 6,
-
A

- ,...
"'
1-' f'j
f'j
-.
1-'
1-' I~
...
-
....
I I I

' . - -
Ll "'I

Different fingers in the two hands.

Clavier- ~ection. 8,
A
-
~~
... -~
__, 0 ,,
"'o.
", ,...... .......
-. 0.-.

-
......... f'j f'j -.

..
Ali
. . . . I.' ""'-JI "--"' r~
~ Jl'
'"' '"'
t~
l " \L
2 3 'I' -" I I I

' t) 1
~ 1-2-3- 4- 1-2-3-4 -~-3 -4 1-2-3_4

.....
--- .. -
I
"'
-
Ali I

' ~ ~

.... 1"1
" ""'
-"'"lo.IL
tJ 1 2 3
-e. u
~
~
\..~ '-' ~

- u -.9-!J -
1"1 f'j .- f'j 1"1
--Q

... -_.,- -._1'"".-

,., 9, 10,
.... .... ... u,
.... -- - - -- .......- _ . .
---
... CJ
... ..... ...... .... .. .. .. r.
.-. .-
""""' ..... ,... !"'" ..... .....
'-II
t) I I I I I

1-2-3-4 1-2-3-4- L2-3-4 1-2-3-4 1_2_3... 4 1_2_3_4 L2_3_4- 1-2-3_4

,.,
...'
..... -
I

,~

't}

'- ..... ..I
- . . . .L
~-
'
e.
.. I
~ -...,. -
lll'i
u
-.

-& -e- -61-
.-I
._
--- .....
........
......_
~

4
Clavier-section.

--
12, 13,
~
-- .. ........ Cl
- .....
,..,
,... fJI'
...."" ....
r~
..., .,..;,. --. ,.,..
L"'ll. "--"' r~ ~ r.J r~
...,
.. -....-
'"' I'JJ ~ '-JI'

't.. 1 2 il .... - 1-2....3-4-

I I I

A.lll.e
, - - -- - .. ....
..
-...
;s

....
r.J
I
f'j

I
.... ..... -
'-'
.. ,
JL..,
'- .....
.... I

r~
f'j
,.~
-~
'"'
(Base clef.) " .... I I

II -
r-.
..l..IJ
tJ
A n
. r_j

I
,..,
t- I'JJ ,-..,.
'-"' .. ,
11,

I
--
I
,... -
--- - I
..... ...
!"'" -- ,......
__,..
-- .... __CI
r.

I
"'
........

I
,..,
t- -
..... .....

I
.....
/
"'I
'"'--
I
f'j

I
~ -- f'j

.. , .. "'
I

l
~
-- '- -- --- - -- --
.....
I
!"'"

I
...
I""

I I
I

..... ,...
I -~
.....
f'j
.....
I
I I
,... I'JJ
I.

15.
-
.. - - - - - -- --
r;
-
0

_YA
...
#t.

lJ
..
r~
-
,... t- -~ ,..,
........
l
,.."
........ ,... r-
..... .....
I I
'--'' 1-2-3-4: 1- 2- a_ 4- 1_z_a_.._. '
1- 2-3-4
l I

.... ,......
- -. --
I I I
,
- -
f'j ,.~

'.J I
/
JliJJ,
r.J
I'..J
r.J ,.,
., .....
' t- I'J
r..J
I I I
I
I I I

H.V: 5718~
 5
II. G-major.
A. Material. ~
1. 14'rom the bipartition (two-part division) of the quarter-note arises the eighth-note: IJ 1, ~' U-~
2. A dot immediately to the right of, and next to, the note- head is a sign that the original value
is lengthened by one half.
By means of the dot, t. The w h o l e note becomes a whole- and-half note and equals
f f f
2. The h a 1 f note a t h r e e- quart e r note and equals

3. The quarter note a three-eighth note and equals

rrr
~ ~ r etc.
3. Rests, signs of silence. The pieces of this division contain the quarter-re s t and
! ~
eighth-rest.
~ ---
~
~
4:. Three- two measure. 5. Tliree- four measure.
~III~J~J~J~II~-"~~~~~eGJ~II etc. Ill J J J I J. I J J I J J J J W J II etc.
1- 2- 3

6. Sharp; Cancel.
# q
1. Note-table for N~ 1-10 (for reading notes~ .
1L.It
8

- ...
' ..., -
-.II
,. .... --

<

I :
I
....... III IV j...vb+
VI

-- -

Questions: (1) To how many eighths is the whole note equal? the half? (2) How many quarters are there to the
whole- and- half note? how many eighthR? to how many eighthR is the three- quarter note equal? etc. ( 4 and il)
To what kinds of measure do three- two measure and three-four measure belong? Group together the kinds of mea-
sure which have so far been introduced herE'. ( 6 What are thfl signs of G _major? What is an accidental sharp? ete.

B. Exercises and Pieces.

Finger-., and counting-exercises.
Clavier- section. Preparatory exercises.
1 2 3 rm~
I'JU

-
:
.J.
: : --- : . ... ~

...... :

...... ...,.
tJ I

: .
L 2-!l-'t t _2_3_!t

-f'-1'"a-
: :
O!le-and, tu:o_and, three_and,four_rmd,

1'"-f'-~ ..
Land, ~Land, 3_anrf,4_and,

_..,. 1-~- ..#.
.. ..~ ..,.
,., ~ ol.
.
6
. . 7
.. . - r-r-1
. .
...-.
tJ I I
1-2-3 1-2-3 1-2-3 1. and, 2-atid, a_ and,
...... _ft ~
.\. ~ _n, ..,. . . - 11'-
.p. ...,.. - . . - - ..,. ~~._..~ .
:
-
H.V. 5718~
~
-.
...
~-
r - section
Cl aVle
~
Jl
..
-
12~~~ ...
,_,
N. 8 .Theme
........ r.J
II" I""
-
!"' -
I"'
with Variations
I') ~-.
II" -II" - 1-'
,...,. -
,.
-
I""
.,,J
- - 1'1
"" ,... .. -t':J ""'

. . - ,. - - - -
j
-TJ/j
., IT ' f
1 I

tJ 1 2
.,.. .. _
- ... -
<. (2
~.1111

7
... /Ill
~ .. ;!s
~;-
~

-- - I""--
- ' .~.,.,
""'
~ - n I"" ,..~

Clavier-section. N~ 9a Upper added

......

il.
,.
'JJ
--,;rn
u
'n -.
"""' .. '
0 ,_,- n-6'- -0 r~
6- -.
v
n
f.'
,.,
r.J
-6- .....
-.
"
........- -r

\
0 I
T T --...,;j
.,r I

< Another notation.

Q.
I:A.lhJiffl

7

..... n
Jllf
fl-o
u
ll
-.:ilii.
'j
- .J I'
e. n ,..
I.J
n -e- {2- n
"
[7 r~

Clavier-section. N? 10. Theme with Variations.

~
~
~

T
~
" Jojl
"" --r
- .. .- ..-.-...--
.i
u
'T

~-~
-:.''J
I

....r
1r.J
I
,-
f.'.
I
r:7

I
... r.J

I
...-
-
:.....-
I
- I
--,_
!7-.- ,..
'
l.

'J ~
t:t Variation.
~ ,
u
I ! ...
..
...
I
... --,
~-
-
""'- ...,,...
\
- I
;;,;~ .,..-
I
j
.~

""'
I 1
-
I

._,
,-la

1
.... _ - - .. , .,_ ....... ,.. .
--
it ...,_ I

-
I
~.
--.. 7f
Jl1 -

-u r~ -1r~~o-
_,.,,., -rJ. ' J . ,; ,..~ ,~

~ z
-...
I IJ .A

I""
trJ I"" 1.11"'
IT
1r.J~"'

IJ
u
I!
17 ,.:.. rJ !"' Jill" r.J I""

I j I I
"" ""'
I T I r T
2~ Variation.
..... .. . -. ..
.w
,.
--...
'I
~

I.J
111 n
,.
"WW
-. ~ rJ
I

I""
a.-rr II".
....
-.
:o~
--&;' . -
I""
-
.,...
.. -
~--""'
......... IW" ..,..- --.,.. :")...._
tJ
01tf'-rmd, two- and, lhrrP-rotd,
1
- l

... ,..._
....... ..... -
.. -.-.
'7'
' Jl1
"" u
r.J

.....
~

T
I""
T.J

I

I"" I""
,...
.i' ....
.......
-
II
77

I
-
I""
~

-
I
'" -
,...
-r
rJ

H.V 57188.
 -
;

III. D-major.
A. Material. ~
1. From the bipartition of the eighth -note arises the sixteenth- note: JJ ~ ,
.2. Rests: a, -.- ~ whole measure rest; b, .._ ~ half rest- F
3. The tie unites two notes of the same pitch in immediate succession into one note whose tone-
duration corresponds to the value of both of them; e. g.
two is played. (Liga.ture; syncopation.)
= ~ Only the first of the
I
n

6. Some designations of different grades of power; a, forte, abbreviated f, (loud); b, pt,'ano, abbrev. p,(soft);
c, crescendo, abbrev. cresc. (growing, becoming louder);
swell sign, meaning the same as cresc.
d, decrescendo, decresc. (becoming weaker);
sign of decrease, corresponding to decresc.
e, A, >, accent - sign , (marcato)
7. Some tempo- (time) designations: Allegretto (rather lively, sprightly); Allegro (quick, lively).

Note-table. (Tone-compass of N~ t -12.>

IU,j.

t.J

I II
-
... III IV v VI
~- ~b
--

Practical application: (1) To how many sixteenths is the eighth- note equal? the quarter, the half, the whole-
note? Draw up a table of all the note- forms thus far encountered. (2) Group together all the sings of silence
thus far encountered. ( 3) Explain the words ligature and syncopation. ( 4 and 5 ) To what kind of measure does
two- four measure belon-g? six- eight measure ? ( 7) 5 chief grades of movement: 1, slow, 2, moderately slow, 3, m<:\-
derately quick, 4, quick, 5, quickest. Allegretto belongs to the third, Allegro to the fourth grade.

B. Exercises and Pieces.

t'l

u. .,

... ...
-- .. .. u
5
.
~
Wrist.

~ r
6,

, ..
. ~
7,
.
-
1
8
'
., -
.
\ v Double- notes.
.
_._
. _._ _...._ .......... ~

- .. - ... - ... ..
{

I
, .
I I I
llilllll - - - ....... '
H.V57i8~
8
Clavier- section. 9.
~_11 ~

....... -. --- - -
I
_. ...I __ ..,
- -.
tL.1

-... --...!
_'!1_ 1-
..L !"l .J: .; r.;
' 11
""" """'
o-"""'-
~ .lL ....~. ._ rJL ..,
....-! '--'
t.. (;1-
'-'
'-~-'
r~
...,
l"l . v
p
....._,_.
'
....
~

...
...-....- IIJj

'
- r~
I

-..... - I
,......: -
'-"
,,
.-
I
I

".; -J
~
I
Ill...,.;
.Jtl.,
I
- - - -.. -
I
I

....
.r
I I
...
I

:.L
- .J ..
.... -I

,--...
...._.,
..__

Clavier-section. 10.
. -. - ,..- --
. -- -
,~ I
".A ...-..__

.. .,--
.._ .L_.I!_
I

- ..... ~Jtl

.. ....
... , -~- ,,
.,
- _,,....
.....
-r-- ' - I

r-
-- j ., 1 ......

t
-
I' ' IJJJ., . - I.... -,., !"" ?'" ~.

..LI!'Ji.. r.;
I'.J 1-
..... ,r_ ,
!"" II"" 1.1
_.}.).l_ I'.J l'i II
Jt) ~
'Jf u '~ I !1 I I I I I

I

-
. . . . . 1111
~JtL

-c;_.-
I

-
- ...... ... ,.
I

'),I
..!'FUll~-
I
..I

..
..I
1-
I I

......
w"""'
I

- 1:'
"-
l-'

t
....'""',. -----..
.. ~ r
...
....,
""" r.;
'
t
.,..,
I-'

1- 2
I r.; - ,..

2
I-
,
'
J:.o"'

I
r
,
).J

I T
,
,_,.
rJ

I
.r
r.;
,,
I"'
,,
.......

H.V 5718!1.
 9

IV. A-major.

A. Material.
1. By means of the dot to the right of and next to the note- head
the e i g h t h - n o t e becomes a t h r e e - s i x t e e n t h - n o t e equal to
~ ~.
2. The sixteenth rest.
' Li
~ =~
3. Some words to designate grades of power, and the delivery:
a mezzo forte, abbrev. rrif, half- loud.
b mezzo piano, abbrev. mp, half- soft.
c dolce, abbrev. dol. dulcet, sweet, soft, insinuating.
!l. Andantino, diminutive of Andante, designation of movement of the second grade: going slightly,
somewhat more cheerful than Andante.

5. Note-table. (Tone-compass from :'\ 0-:';1-4)

~

#.~ ~
~L-

u
I II Ill IV VI v
........ :!;

Practical Application:
( 1) The G-major material: N~ 2, is to be connected with this. ( 2) Group together all previous signs of silence.
( 3- 5) To be used as in earlier Divisions.

B. Exercises and Pieces.

Clavier- section. 1,Hithmic Preparatory exercises. Dotted Kotes. The same tempo for a- k.
b,
~~~
~ .~.~.

.

a,

'--'' .
J"'" ,...
,...

. -. . - .
c,
---,.-:--,.,...-rr--------.r----r----:::---"l!...--:---o.----+---..--.,--------------n--1------r--------n
I

l-2-3_4,. t_2_3_.\-

.... -
I _;, - . -... . --
'-
,.--.....
... ., . . .. ,
---------+--------~~--~-----~-------LH
.. ... J
.
"
.....~
. .. . . ..
f,
. . - - - .. .
e~.-
r 1
. .. - ..
1 1 1 j l
I""
""" """' .... -~ r': . - ~

1_ 2- a_ .. 1 2 - a - 4 -
-

__- /
I"'"
3 4 \

- -. .. .-
l 2
'.

,...-~/ _. / . -/ t_ 2 _ e

-
3-4- e
r~
,.~ . . - -. .
1,1'
r
1.1'
r

r
v
r
,...

I

!
..
h ...
....... - .... . -...- ....- - - ....- . .. .. k
(

~~
"
1.t~
}#,
r..
_r -
- -- ---
- -

--
"""- .
2 -- : 3 _ _ : 4~-:
"""
-
i,

1- e
~ ~ ~~~

2- e.:. 3- e.:. 4,._

e;.
-"""
1-~ ~
..
'
-- -.... - ....- - ..
r
_.__._
Ill I Ill r -.
2-e- -: 3-e .:_ 4-_e.:.
I 1111

"""' ...,

- - -... .. -
1 -
<
I I
_/ .... -- I :
- I
---
;
JJ, I : ;

.
1""'0.

J'
II 'A.
~, ..~
.. .
r I"" l""' r- I"'"
'""-
/
f
..,[

H.V.571S~
 10
2. Sixteenth rest.

Clavier- section. 3. Finger-exercises. 4. ,'). 6.

1. Little Air with Variations.

Clavier- section.

~ ~~ _]J,.
!'\ JJ. ::...
_.
--- _. _..
If: II
J
3~ Variation.
>-

-r - - I

- - _.I" ..
-...........--,..
I

J-
_..
~ .... __..
..
,_
... _r -~
.J"' - _f~ '!""

,, -- -
l..Ll!l. '
If_~ v
_'!"" ~ --~
J. ,_ -,..
lo'
r r J>--
y I"' I'~

~.~.,. . ::
<
~.;: ~ ~~
l.A....Il It#
It#
Ll
., ~ II' .. ..
... ... v ~ I"'
... -
,... l~.~
, - - -
.J"' _r
I!:~ ,.. ~ ~~
~~-,..
--....--
1..{
I .- f L
k
v ..L
--.! _L
.L

4t_!l Variation.

5t_h Variation.

H.V.57:1.8~.
 tt
V. E-major.
A. Material.
t. The slur ~ as sign of the connected or legato style of playing, is called, in distinction to th~
tie, already spoken of, the 1 e g a t o - s 1 u r . The tones circumscribed by it are as a rule as
closely connected in respect to their musical signification, as the syllables of a word~ or a
series of words not separated by any punctuation.
2. The dot over or under the note heads as sign of the detached or s t a c c a t o style of
pla.ying, shortens the tone- duration about half of the value of the note. For example:

1'.

I
! ! ! !
J"
< ete.
)
"
~ I I r r r r

3. The dot, as sign of increase of value, is used with rests also.

By means of it:
t. The whole-note r e s t becomes a three- h a 1 f- n o t e r e s t , equal to:

2. The h a I f- n o t e
- I - I
r e s t becomes a t h r e e - q u a r t e r r e s t
I - -J
equal to:
- I - I
3. The quarter r e s t becomes a three-eighth r e s t equal to:
t t. t i
4. The eighth r e s t becomes a three- sixteenth r e s t
i ,. equal to:
i :; etc.
4-. To signify that at the repetition of a part a change of the final measure takes place, the ex-
pressions Primo, Secondo (the first, the second, usually shortened to I?, IId.o) are employed.
Whenever the second final measure marked II~0 is played, the first one is omitted.

I? II Il~0
E77T??I =II

5. Moderato, moderately, moderated: tempo-designation of the third grade.

~ote- table. (Tone- compass of N...:-; 1- 4J

~+!'
"~ -1
-
-r-
--w---

'--- . ...ll.....C..:.
-. -
I jj._

--~-

Practical application. (1) The pupil should repeat what was imparted to him concerning the Tie, in the ma-
terial to D- major. ( 2) The Staccato style of playing is executed here with the wrist- stroke. What is the essen-
tial feature of this mode of touch? ( 3) Compare the material to G-major, N~ 2.- How many quarter rests does
the three_ half- note rest contain? How many eighth- rests in the three- quarter- rest ? etc.

H.V5718~
J2
B. Exercises and Pieces.
Clavier- section.
~rl il
- .......-- ......
J
1.a _ _
...--. ..-...... b.
Slur.
-.... _., -_.... .. ........I
~.

.. ... ,,.,, .
d .......... tPn.

------ ---:...-- .- -
I

...,,
-.. -...... .............
ILl I'"
.... .....
,. ~ ,-: .lri
"'"' ....... i
..._
...... ~
'" .., .......... -"! . . . . .

-
r;
-.1J ,..
-~-~-
_Si_ ~

t)
" ":iii ...1 ... ...1 ...L.
"":'':'~':"''!'"":" ':"'"':':":"":"":" ---....:......- -...._.- -._/

'
....
......
- - -
-- .... .... -.... ;.;

- -- -- - - - . .. -
-- -
'"
r
JJ
u
- ... -~ . . ~
'U'
u
"
- --
~"'"


I
.,... .,... .,...

""""""
~.
.,... .,...
I"'"
le
-.--~
r:a Iiiio
,..

- -
r
.. ""' . I"'". .. .
."""
~~~

I
1';1
.,..J

1\ Interchange of hands.

;'YEiil:--''aqf~-~~I111
=::::-:-=-== = 1 JI~ II Left }[, - ~
Clavier- section. 3 Moderato

-
;.. JJ +! I I 1
... . ... .,., l J

..-----..,-
~
ill Jlf -~
...,. l
...,. ~ I

- -- --
......
,
r-
~
....
r.
f
"'"" . . . 1:'
I

---
.....
... . . . II:

_ -
....
....._.,
I
-"-"-
....
~ ~\
~- I
~

./ - .._....-
i..ol ~ ..:l'l.ool._
,..,

...
......t
~.
.
... k:

.... ....
-_...-
~
- - -_,
.....
:'i
~

'-"

f
pj,

-- ............ .... .......,.. - .... ... ~ I

.... "'"----- ......,. ... ...
t-- l A

- - --- ' ,.
ill ......

--
~

........
1 _[\
iii ...T'" . . _.
~ ---- "'"'
l..'o
..... Ill:
....
...,
' .....
-
.,... A. I ,..
T " ' .1.'1""'
P'/
l"'"
!.;': r..
.,__ v,
I r I r I r~ r r I r t I

Tie. Slur.

1 2-1
~ ~
""'II ,, ill .. ....
-- .... .- .. .... ..... -. - -
,, . .
11
..... ,...- .... - ..........,.. .......,..
-
.,...
1:'-
'[. ._ ~-l""'-
,..... .,... .,... ,.. .,... .,... ,..

- ....
l ' lL "" !""
...
I"'
I

'~
I r I r I

)
.... ..... ..
'J..- - .. ....
I""-- -~-
::::>-

- - -
LJ. L

-- - - -

{
~ ill
,.,..
'' ~ If "
'"""
,.. ,..
[;;;;,.
1141"'". ,.. Cio
,... f'l.
- tl
ra
r-
l::ilo
1-" ~

-
r'! -........!
\~ " L/ y -. ~ ~

- .. -.. .. . - - .. - - .. - ..
,.. JJ ~ .::::::- A
.._
:::>- J\.
'Jilfl , ,..
ill
,.. ,.. ,.... ... ,.....

--
, "'"' r.

... .....
I
I"' !' r-

. - --- - - -.---.-. ...

'~ ,_ r
r - -:::: r -::

....,. ,, ,,, - .,.. f."'"'.,.. " ,.. ~\.

.J ,... ,.... ,..
~
I"'" ""
J"
,.. !""' "" n .,...
'"-
\,
/
f
.. " f'l

H.V.57l8~
 13
VI. B-major.
A. Material. 4. Note- table. (Tone- compass ~~s 1-8.)
1. Lento) slow, tempo-designation of the first grade. (I
2. ff, fortiss,t'mo, very loud.
3. .fo, forzando d
~ ma de prom1nen
. t
fl

<t)
~ tt

J ......
.. ... n. m. rv. v.
cJ! ,./-!
-uz, s.,orzan o
-" ..#!
v, . ,,. d
1jz, rzn;~orzan o
t t d
s rong1y accen e . .... ... 1~ .. I. ..

dim. dz.mz"nuendo, becoming weaker. \J T

B. Exercises and Pieces.

Clavier-section. Clavier- section. J.Lento.

..... - -- -.. ..
\
A JJ ~
,.,.,.
JII.T'~
~ ....
---
.(

- ---!)

"
3 4!.
-tlio--
.., .
lii.-?Si.-

-
,-,
1"-<C
I'< ---
..---
5.
..Lll _.. ...
-----
.. - -- .. _..
- -
.,

------ ..
t-
rr~ ~ Cio
I"" -
I"". I"" P"'
., !""' I"

ifz p v
I.;' 1./ I 1./ Ll
'
t) r r I
!'' 1 f
'
~ ! I
I
~I
zP
I ifz'p I I

~ u,
_,
~
Jll
...
;'Ill
""'i.l

y
.____ - -. -
1 2__2

-
_';t:._L
~

-.. -
!"'- l:io-
o:;o.-
I
I I
::::;;;,
...

II
plr' ~--
~

I
-...
~
~
~-
_.
'
_..
_I""
~
-
,...

I
- - - - --
II"

I
......
I"'
l""
II"'

- .. ...- . .::::- - - ..- r... - ..- -

~
" ~ M
,_ .
-
~ ~ ,...,~
'1':""'
...
--- -~
..._ ,.. .... -- -
1110 Clio
::li. c;;.
~
!Iii.
- llio llio l:iio
!:iol!:io
.:::>
;_
.:::> ::>-
~ l::llio l::::iio

~
_,..._
......--::--...
_,.. ,
... -if' -

- - - . ..
_r I"" I"" I""' I""' I"" I"" I"" I"" I"" t- I"" I"" I""
-
-.;:\I '[
__..I
e) ~
szp _1
:r I I _L- I r 1 I
m
I I

II."'
7
--..
Jll
J11
.,..
.lJo
I ill
~
!""
II'

I
~
WI"" Ill!-
Iiiii""'
-- - -.,... I""
-
I"" "
~P"' ...
!""
.., ...
. ....
!"" -
I"'
I -
I""

li'
r

Clavier-section.

B.V.57l8~
 14

Second Variation. (Polyphonic Playing.)

..

VII. F-major.
A. Material.
t. If a tone- value, whose written sign is one of the well- known note- forms, be divided into three
Aqual parts, the result is tone -groups and note- groups called T r i p 1 e t s . For the separate parts
(thirds) no special names and written signs are used; but those employed for the bipartite division
are utilized, in the sense that of the not.es of equal value which form the Triplet, not each two
(as in the other case) but only the three taken together make a whole. As a sign of
this lessening of value the figure 3 is usually placed over or under the three notes forming
the Triplet. The three thirds of a whole note are accordingly represented by half- notes, the three
thirds of a half- note by quarters, the three thirds of a quarter- note by eighths, etc.
In the tripartite division, accordingly,
a whole-note is equal to three (Triplet) halves:
~

FFF
a half .note _ _ _ _ to three (Triplet) quarters:
~

F rrr
a quarter-note _ _ _ to three (Triplet) eighths:
~

an ei~hth-
r r L'
note ____ to three (Triplet) sixteenths:
~

c Ci
2. The flat(~) as sign of single lowering.
3. Pz"anz'ssimo,abbreviated pp,very soft ~I d" t'
Cil . bb t d n d n wa Ions of th e gra de of power.
r or1zsszrTut., a rev1a e JJ, very 1ou

!i. Note-table. (Tone-compass of N~5 I-II.)

I! L

I - T
llJ

I II III IV v VI VII VIII IX X

: - ..... .. h.. ,L I

Practical application. ( t) The pupil should form a table of the note- forms known to him, with reference to their
value as Triplet- notes- How does the tripartition efl'ected by the do t differ from that discussed he:re? (Compare
the material to E- major). ( 2) Rept=>at what has been said concerning the derivative tones: ~)r what is the csed, #
for what the ~? etc. ( 3) Grouping M the designations for the varions grades of power. (4) How are the tones
c~alled which in their notation occupy different staff degrees, but to the ear h.,ve the same pitch? (VII) etc.

HV57!8tl.

-
 15

B. Exercises and Pieces.

Clavier- section.

-~
Clavier-section.

IA ~-"'
_\.i./_
_h
_._ ""'C
1. For pract1ce 1n swelling and decreasing the tone. creso. and deoreso.

- -- -- - ...-.... ... --
.~~.

......- .....-
!""'

"""'- """'- -
......-
_[""

..
...__._
-.. --.. ---.. -.. --
I"

_. """'-
,... I"" _,.
"""'-
_,.-.-
-- -- -
- -
"""'-
I""""T

"""- ...ol
.....
,
-I
~

WI'
-=:::::: ::::::::::=-

-""" , ..
t..
p
mf - J.
A~

/
1'
~
---
~
- .. ..- ..
'-
.r-..
'-'
"
,-..,.
~
'-"' ,
..' '

Clavier-section. 8. AJleg.ro.

H.V. 5718~
 16

,
~

\. J
t..
~

.. "
Clavier- section.

I...

- - --
-

9. Alia

'
-
mf
marcia. (march-like.)
-
.. .... . . -..I-. - -
1""""""ii
"""
....
-
~-
-
... ...
- -
""" ...J .~

....
I

-.. . .

-

-
..ol
~-
""iii

---- -- -
...
....~
I

- =-----

~
~. ....!

.. y,
_,
,.
h
II'"
- - -- - ....
'
~ - r
""
-
I""

""
.:;
r
-
l
r
"'
...r I""
,
""'
-
I""

I
r
"'
T
- -- -- I""

I I
,'
...

( - -
"'
,~
\.
t)
A
~

" ....
-
P""'"iii
. . . . . . ...i.
-=
- ..
~
-
..... ..,
..............
-'!

- ......... ~
-- ......- - - . -- ....~
..,
""
.. ....-
..,

..,
--.-.
"
r r~

I
......
Ill - .

L......!l_
.I" ~
I""
IIIII
,~

I
-I
"_J

-- f f
).. .. .. -"'
_,-..
....
I""

--,..
I
I
I

!
- - -- - ..
- -
Jill' -
- .... ...
I""

r
-- ...
I""

I
I"" ,'
~"
''"'

I

Jill'

I
..,_ ~

I
~-t-

I"'

I
l I I

-,~
\.V
,..
"" r~
)If.-.
~I""
.. ....

I'
I""
Jill'
r.; --- . .....-.. -..
-
Jill'.-
II" -
~

""'
..,
"""

...""' ...
-- Ill!
.....
.....~ . . . . . - ""'

.,....!.
--
. - - """
Ill!

""" .,
.....~.-~


'"'i

- ""'
,' ..
-
..!!!.
tJ I I

:::::: fp - f
p
.. lil.o

/
-..
"
.,., .,
-
-
-
..t' L- ~-
I""
.,-
- - I""
....I
..
- .,..-
Ill!_
-,..
-.:..

I

T
I""
...

I

l
-
I
- ,--
...
I

-I
-
I""

l
- .
-,.... ~~

H.V.5?i81!-

--~--
 17

Clavier- seetion. 10. :-\ndante.

A

-- . -- .
.. ...
-... ~_A
...
-ifz~
--
'> T

.. .
- ---.::.-
I

-
-.: - -
r~ ... ,. ..... ..I. -

... -- - - .
..... I"P ~
-== p
~ .... -. - -

-..
,... I
I I I I ;::::... :::=- :::=-

..
I
\
, , ...
-
-p
_W
,r
... ,
-
11. .-! r~ '::iii
_, v rJ
...r"''
..., :;;;; r~ ...I

'::;;,j r.~r~
" r7

\
- -1
.Lm
~.,

t)
>-~
'-"'
_/
..._...- ':oil lJ
...._....- 7iii >.~"!-
,_, l'
r:Jr~
_v
II
VI'
''
p
~~ .,.,..r-'f#" ~ ~ .,..
pp - .:::-

I
~
'.~
,.
IL ~

"
-e

"'
I

.. .'
~ ~- ~H.,.
...
0 ,...,
II
~'

- ==-:::.
I""
~,..;~
.I 7
~
~
'--"

Miller's song.
Clavier- section. 11. Vivo. (lively.)

H.V. 5718a
 JH

VIII. B~ major.
A.llaterial.
1. If the duration of a note be divided into six parts, we have a ''sextuplet'; for exampit..
d ~
~-~
rrrcci CbbCj
b etc. A distinction is made between two -part and three- part sextuplets.

The former are more properly called Double -triplets. Where practicable, the division is indicated
by the manner of writing, as for example: @U
2. Da (Japo al fine (from beginning to end, i. e. up to the word fine). For saving space these words
are written at the place where the return_ without interruption_ is to be made to the begin-
ning. Where the word .fine stands, is the real close.

3. Note-table. (Tone-compass of N<!:" 1-6.)

L
" I

1._; ... ..... ,

l II III IV v VI ~r
f...-t_- ---

-~ --r-
--'-----
--t--

Practical application. (1) Compare what. was said aR to the Triplet under the F-major material, NV t.

B. Exercises and Pieces.

Clavier- section. To be studied in two ways, viz: both as Double-Triplets and as sextuplets.

~
!~
.
~
_~"'
'l
A
L.L
_j
!1_

- ---.. --
_t_

- 2 3 4 .;
- 1
_, -
- r- - r_ ---~
r- -- --
...._
---- r- I"
-!""
r-
- .,.._
.. - .....
,. - ,. ,. ..... ,. ,. --
2
le - I' .. - ,. --- ,.,_.. - --- ---
_I"'" -

I

7
,.
"
[I
...1
..

2

-..
_3
--"'

It

-- ,.
' -
r- ---
.!!:_ - - - ---
I"" - -
-...... -
,.. !"" ..
-
,.,.- r - , . - - !""- . ,.--- r- --~""'-~""---
!""
- - ~ ~
-- -
1r- -
_._

.... --r .._ .... ---- .. ,. -. _,..-,...... -- r--1'"'

-,.. ...
3

t 'v
,....
A
LJ
""'-
I
CJ -~"""
I-' .!!:_
....._

~
_.

....
'.
L
,-
r-
~~--
L /'"'
....._ ..al
........ ! _ _ ,..

I""
IF
_..I,._
_.,..,.r-
,) .
:::lio
!"'
lA- ca.
r- - r:;;.

~
>-...!
"-J

It)
~
-
, .... "
\
~ ~~
...
r--~""-r-.a
I""' _ I ]"""
~- - _._. . ...
~-
Lu..!""
---.r:.
...
-- - ,.
!""'- ,.. ----
1-,... ,... .,...
...
-.!""'I.!""
_..
-
,..
.r.:::
- ,.. -
,...
~-
-
...
!'"' . .
~.12ii
- --
~ -~~----
,.. ,..
i:iio-
,-..,
~
l"~

- -
_]W
--~
I i ~

Clavier- section. Theme with Vanatwns.

. -- _._ ---.. . - -.. -.---.. -

--.
A I .a. 5 6.AJlegretto.
._.
- .. ---
.... ...
I

.. . . .
... - ...
~I
_, ~::::--
... ......... ._
,....,
~ .::::-
,,
--
LJ rl _ f) __ _ ~ ~

, -""' _m -'Ill ...... ......,[- .......

- --
~
...,[ ...,[

'" " _....

~
~ .. ~

~ I

f fii1e p -n~~r.ap()
f
l'l
. - ul lltf'.

. -
I
~ v _.,.
- ~ - ~---......
4

L. 4
""'- _OJ. .,
..1:'::"':1 ~

p_,p ...
.. I~ ~ 5 ~

.....
~
-~

~-

~~p
""'- ll'l.olll
~ ___./
II'!""'"
11.i-_....-
...h.....t
"-

t~t VariatiOn
- -
. ..... . -
Triplets of eighths.
~ ..
=r~
A-,
1.J

Y'
II

..
-
.....
-
r-""'

..
- .. -
.....
-
. - .. . _._
.-1
....
,.......
-

I

tJ ,. J IJ
( A I
~ ~-

'~v
'l.
..-;-t]
p~ ----------~---

H.V57i8~ ~ -----------
 ~~

'7~J:;
' 'v
II
11
I
"f)
-
.. .. ...... ... - ....
_
..... ,.~

- .. ......
..... ,.1
T

-
,.~.
...
--....1
.. - .. .. .. .. ... ..
- .-1. .. .. ........
.. Ill..

l '- f
i J I
I u
f .. -,

- .

... ....... ...-.::J--- - . ....J-- .. - . .. .. ---- ...

- -
.. -....
,., I
~ ,.....,.. ,.... L

--
f1

\ CT1flii.
T '
I)'
~ ..... .-1 ..1 ..~~. .-1 ,.1 .... ..J.
... ...
....... .........
,.1 ...
.:X """'
tJ
\ ,mf
[]

{tk ...
1..
f -
.;
II

r-~--
.-1

_-r-~,
------ ~
I
;

.
-
....... - .. .. ...,
1'1
.. .. ..
I ....,.._ -
::;;.!- ....I ..1 ...;.

.. ...,
 20

IX. E ~major.
A. Material.
1. "Up-beat'' is the name given to an incomplete measure at the beginning of a piece, or not entering
on the principal down- beat: it has its completion, however, in the final measure.
2. !"":\ Hold, sign of repose. The note above or below the Hold is lengtht:.med beyond its exact value,
indefinitely, yet \in a way appropriate to the context.
3. Maestoso, majestic, solemn, designation of movement and delivery.

4.
~
. 1'1
Note-table. (Tone-compass
];,
-....... _v
~
I.
or 1-8.)

-.
-. -
L

t)

}
~ ~ _.._
I H. 111.

IV. V. VI.
..
Vll.
~
Vlll.
I
IX.
~ ...
X.

~]I'

--- -

B. Exercises and Pieces.

Marcia (March)
Clavier- section. 7. M.aest oso.

....I
-,...
T.
If ,

"'
-....
r:;..
JW'
r:.. ..14/S"
tw'
....1

.
~...:.
Jill"
'k
f7
r
r,
Ill! 17.

-~
J
~ .~ ...
,. . --
Jill"
.-
~,,,......:-.
f-' ._...
1..

4
, .,
\. \

"'
(r) _a
,.,.
-
,.,. .. ---_, ,
0 _, :J
rrrT-
__,
,.,.
1
.. ,_," IJ
.-J
.-I
II
"1JI:"
r7

" [,/ !.- ::oJ

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H.V.67:18~

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H.V571.8~
 X. A~ major.
A. Material.
-fAA
1. A double-stem is applied in notation, when two different "voices" unite on one and the same tone,
as for example:

J.
r
1- 2-3
v
3. Abbreviations.
If a note is to be repeated, a cross- bar is written instead of the explicit repetition: / or Y. .
From the sixteenth on, the note- value of the note- group to be repeated is usually determined by
the number of the cross -bars placed one above the other,_ as at a, b, c.
a. b. c.

1rr j 1, 1, 1 cJ1 t'l'l!ifHI u.s.w.

t. The double-flat (~) as sign of double lowering.

Note- table. (Tone-compass of

- 1-7.)
l'l. J.

'
<

'
l)

... . ....
I.
~
n. III. q JV.
:!: ~.l ~ ..
v.

Practical application. ( 2) To which kind of measure does the nine- eight measure belong ? ( 3) The signification
of the abbreviations should now be more particularly explained. They are used for saving space and time. They
have reference to repetitions, verbal abbreviations, contractions, transpositions, and the like. Such abbreviations have
, already been repeatedly applied; as, for instances, eresn. for nresoendo. f for fort~?, Jg 111.0, for primo, seeondo,
da oapo al fine, etc.

B. Exercises and Pieces.

H.V.5718~

--
7. Andantino. 23

H.V 57!8~
 XI. D-flat major.
A. Material.
t. Rattentalldo, abbreviated. rallent., rail., holding back, slackening. The place at which the original
movement is to be resumed is indicated by Tempo primo (Tempo /!!, Tpo 1!1). The slackening
must be gradual, that is, the metrical parts must diverge_ not at once, but_ by d e g r e e s.
2. The hold, or pause r.'\. alluded to in the division E ~ ma.for, is in the same way used with rests;
as, for example, T, ,
~ etc.

3. Note-table. (Tone-compass of l-8.)

B. B. Exercises and Pieces.

1. 3.

TP.OlO

H.V.57i8a.
 25
XII. G ~ major (F# major).
A. Material.
1. 1.'hrough bipartition of the sixteenth- note, we obtain the thirty- second ~; ...h.
)y, ~
through bipartition of the sixteenth- rest, the thirty- second rest {;..~.
~
2. The double- sharp as sign of double elevation.
X

3. Tone-compass for 1- 5a Tone -compass for i)b

' r) I
.lot 11
l
"
<

:-To
./
-v
I.
.... . ... ~.
II. IJI. IV. v.
- . ..
VI. VII. VUI.

Practical application. ( 1- 3). To be used in the pre,ious way. Piece ob is nothing but a transposition of 5a into
F # major; for the sake of practice, the student should try to make the e n h a r m o n i c c h a n g e in writin~
before looking at the one given here.

B. Exercises and Pieces.

5 ~ Allegretto.

H.V.57l8~
26

Clavier-section. 5~Allegretto.

,~~~~~~~~~
l~6~tnli~~.~~~~~~~

H.V.57t.8~
 ' _>--______
', ' - - -- I.~

r' I_~/.~~ ~
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/ ~------~""'

~- __ / _,;) 9~~) by (~Q Q . --- ~

- !Ri-~-~ . -~
. /a _
__ _!) --~--x--
--~- (.
---

Book f. Technical Studies. Finger-exercises in the compass of a Fifth. Pr.

Book ll. Exercises and Pieces.
Book Ill. Li1tle Foul' -hand pieces in the n1ost usual Minor 1\1odes
( suppJen1ent to Book II l.

BERLIN/ M.BAHN VERLAG NEW-YORK/ G. SCHIRMER

Kilnigl. Hof- Buch -(_~ Musikhandl er 3 S Union Square
Hiltrr Strafse 79.

Book !. CopyPight 1883 by G. Schirn1er.

Book 11 Copyright 188S l~v G. Schirn1e1'.
Book III. Cop:vright 188:) hy G. .Schii~nwr
 2
I. A-minor.
SECONDO. (Teacher.)
Allegro seherzando.
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Copyrig-ht 1885 by G. Schirmer.
*
 I. A -minor.
PRE\10. (Pupil.)
Clavier-section!) Aflegro seherzando.
~ .*
----

il) So_ ealled Ke~rboard- section iJO

 II. E -minor.
SECONDO. (Teacher.)

Allegretto con moto.

La secouda volta pp.

..

72n
 .'l

II. E.minor.
PRI~IO. (Pupil.)

Clavier-section.
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720
 III. D-minor.

,.-
s SECOKDO. (Teacher.) >

,_
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72n
 III. D.minor.

.....
Allegretto con moto.

~===
PRL\IO. (Pupil.)
~
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720
 IV. B-minor.
SECONDO. (Teacher.)

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IV. B-minor.
PHJjlO. (Pupil.)
Clavier- section. Andantino.

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 Bmpfehlenswerthe lnsikalien fiir das Pianoforte zn 2 Banden von

M. Bahn, Verlag (trtiher T. Trautwein) in Berlin. Ritterstrasse 79.

Mk. Pf.J Loschborn, A., Reunion musicale. op. 23. Mk. Pf.
Mk. Pf. No. l ua petJte Margulrite. M. 1,1>0. No. Z Holero.
50 Hollander, Alex., Barcarolle. op. lS.. 2 00 M. 1,50. No. 3. Le Gondolier. M. 1,30. No. 4. Noc-
8aeh, Carl Phil. Eman., Solfeggio turn~. M. 1.30. No. 5. La Graeieuse. ~1. 1,80. No. 6.
Bac'!t J. 8., Praludium, J~uge und Allegro, Jensen, A.<l., Suite H-molJ. op. 36. 3 Impromptu. M. 1.50.
jjJsdur, heransgegeben von Carl Tausig . 1 50 Kielz.~ Fr., Bilder a us der J ugendwelt. op. l.t Polka brillante. op. 57. . . . . . . . 2
Das wohltemperirte Clavier. Auswahl von .l.'lo. 1. Die Wasserfahrt . . . . 1 Sechszig melodische Ucbungsstucke f. Pfte.
Carl Tausig . . . . . . netto 6 - 6 Valses. op. 7. . . . . . . . 2 50 op. 84. Heft I- HI. . a 2 30
Sinfonie aus dem Weihnachts-Oratorium, - Melodien. op. 15. Heft. I. M. 1,80. H.ll.M. 1,50. Low Josef, Lachtaubchen. Salonstl'tc-k. op.182. 1 50
fiir Pfte. von H. Ehrlic:b 1 20 - Variationen und Fuge. op. 17.. . . . . 3 f;O - Kornbh.1mchcn. l\lelodie. op. 183. . . 1 30
Beethoven, L. y.,
Quatuor:~. Transcriptions Kiihler, L., 3 Sonatinen in progr. Folge. op. 133. Alpenkonigin. Tyrolienne. op. H\4. . 1 50
par Ch. 'fausig. No.1. Cdur. No.2. C}dur b M t.30. !llo. S. Fdur M. 1.50 Sechs melocli~c1Hl Clavierf1tiicke m gef'alli-
Nt. 1. Adagio, op. 59. No. 1. Jllk. lt. No, 2. Scherzo, .Kontski, Antoine de, .!!'leurs melodiques. gem Styl ohneUct.avenspaunungen. op. 185.
op. 1">9. No. 2. M. 2. No. S. A.dagio, op. 59. No. 3. 12 Etudes caract. de moy('nne force. No. 1. Der kleine TuuseuJso.ssil. 80 Pf. No.2. Sehwel-
II. 2. No. 4. Cavatine, op. 130. M. 1. No. 5. Presto, 3 30 zerLied<'hen. SO Pf. No. S. Spiel und Tana (Walzer
op. 131. M. 2,30. No. 6, Scheno, op. 135. M. 1,60.
op. 77. Liv. 1. .
Rondo C-Dur). 80 PC. No. 4. Waehtparade (Martob
Liv. 2. . . , .... 3 80
Bendel, F., Hommage a
Chopin. Piece ca-
l 80 L'lndi~pensable du Pianiste. op. 100. . . 9
D-Our. M. 1. No. 5. Gondel-Dueu (Barcarolle A-Du.r).
80 Pf. No. 6 F"st-Polonaiae (C-dur). M. 1.
racteristique. op. 111. No. 1. . . - Neue revidirteAusgabe ohneTe:xtLfrg.l. 3 Gruss aus der Ferne. Tonstiick. op. 231. 1 bC
Serenade. Morceau instructif. op. 111. No.2. 1 50
1 50 :. II. 3 Octett-Final de l'opera :.Traviatac de Verdi.
- Plainte d'amour. op. llll. No. 3 .. La Resignation. op. 131. 2 30 Transcription brillant. op. 232. . 1 80
- Sexten-Etude. op. 27 . 1 50
Mazurka. op. 132. Edur. 1 30 Oesten, Th., Liesli. Salonstuck. op. 162. . 2
Bohm, C., Wilde Rosen. op. 13. No. 1-6 a 80 Fantasia iiber Attila von Verdi. op. 133. 3 80 -- Der [~ose Frilhlingstraum. Salon- Polka-
1. Rondo. 2. Polonaise. S. Budesque. 4. Impromptu. Fantasia uher Ern ani von Verdi. op. 134. 3 Mazurka. op. 163. . . . . 1
6. Mel odie. 6. Tempo di ValS~!.
Etoiles brillantes. Piece' de salon. op. 19. 1 50 Les Adieux a
Madrid. Meditation. op. 135. 1 80 Fantaisie eleg. sur des motifs du ballet:
Knospen und Bluthen. crp. 29. No. 1-6 a 80 La Solitude. Meditation. op. 136. . 1 50 Flick and Flock's Abentener. op. 169. 2
No. t. Der rothe Sarafan. No 2. Die Loreley. No. S. Le Carneval de .i.\Iadrid. Galopp. op. 137. 2 Orangerie. Gefallige Tonstiicke iiber beliebt&
Das Alpenborn. No. 4. Der . Tyroler und seln Kind.
No. !\ Ade, du Iieber Tanuenwa,ld. No, 6. El 1st be
a
J,es Adieux Lissabon. Meditation. op. 138. 1 30 :Mclodien, mit Rucksicht a. kl.Hande. op.171.
Feuilles volantes. op. 139. No. l. Lorbeer und Rose von Grell. No. 2. Put-
etimrnt in Gottes Hath. No. 1. Le Calme de Ia Nult d'ete, 11. 1. No. il. Le hiineken. Putboneken, Volks\ierl. No. 3. Aarm Berg
- Transcriptionen deutscher Lieder. op. 55. Souvenir. 50 Pf. No.3. La Separation. l-f. l.SO. No.4. steht A Schlou. Volkslled. Jllo, ~. Scblaf, Henenl
No. 1-6. La Rende de Nuit. M. 1. No. 5. Un Regret. 80 Pf. No. 6, sohn chen aM. 1,50.
No. 1. Der Tyroler und sein Kind M 1,50. No. ll, Ieb Je l'aimais. aO Pr. Pratt, S. G., Instructive Stndien 3 -
klag's euch ihr Blum en M. 1.80. No 3. Ich will dicb Une Pensee. Romance sans paroles. op. 140. 1 50 - Reverie . . . . . . . . . 80
r.uf den HaH1en trag~n M. 1,80 No. 4.. Zieht im Herbat Souvenir de Glienicke. Valse. ap. 141. . 2 50
die Lerch< fort M. I ,80. No. 5. Du liebes Aug', dn Raff, J., Tanz-Capricen. op. 53. Neue Ausgabe.
Iieber Stern M, I ,RO. No. 6. Da1 Mailiifterl :M. 1,50. Souveuir tie Dant:lic. Rom. sans par. ui:J 142. 1 80 No.1. Walzer l\1. 2. No. 2. Mazurk M. 2,50. No. S.
Forget me not. op. 51i. . . . . . . 1 30 Les deux Soeurs. Mazurka 1. op. 143. 1 80 Polka M 2,30.
Gebet einer Mutter. Meditation. op. 60. No.1. 1 80 Les deux Soeurs. iYiaznrka 2. op. 144. 1 50 Reissmann. Angnst, Aus alter und neuer Zeit.
Le Desir. Melodie. op. 60. No. 2 .. l 80 Souvenir de Berlin. Gr. Valse. op. 146. 2 80 Acht Clavierstlicke. op. 25.
1 80 Heft I. M. 3,50. Heft H. M. 3.80,
Salon-Polka. op. 60. No . 3. La Violette. Mazurka. op. 172. . . . . 1 80 2
1 50 Fantaisii' sur des motifs favoris de Simon Sherwood, W., Valse. op. 1.
- La Bajad{m. op. 75. ~- Impromptu. op 2. 150
- Gardez I op. 76. 1 oo Boccanegra de Verdi. op. 176. . . . . 2 30 2 50
- Fantaisie sur la Traviata de Verdi. op. 182. 3 50 Trois Scherzi. op. 3. .
Brassin, L., Concert-Etude 1 30 Speitlel, W., Octaven-Etude. op. lB. No. 2. 1
- Polka nationale variee . . . . . . . . 1 80
Llementi, M., Gradus ad Parnassum. Aus- - Souvenir de Helsingfors 1 30 Tauhert, Huil., Alla Turca. Tire de l'o.P. 24. 1
wahl vou Carl Tansig netto 5 Silvana. op. 60 .. 2 30
2 Iullak, 'I'Moc!ore, Portefeuille de Musique. - Preciosa. op. 71. 2
Dromer, Carl, Impromptu.. op. 1. Marceaux de Salon. op. 20. compl. . . 9
1 bO -- Sechs Canzonetten. op. 75. . 1
Dupont, A., Etude. op. 65;, No. 1. La Coquette, Piece earaeteristiqu!'. M. 1, 80. No. t.
A \linuil. Nocturne. M. l, 80. No, 3. Gavotte. M. 1,30 'f;lusig, C., Tagliche St.udien, heransgegeben
1 No. 4. A Naples. Suite d~ quatres pieces ltaliennt5. a) von H. E h rl i c h.
Fink, Wilhelm, Friihling~jubel. op. 38. 50 Barcarole. h) ~erenade. c) Devan! l'eglise. d) Tart.ntellt. H6(t 1. M. !i. U.eft 2. M. 4. Hef\ S. :M. 4.
- Wiegenlied. op. 39. . . 1 M. 3.50. !<o. b. Trois ehansonette5. !d. 2, 1 30
1 50 Thoma 1 R., Au Soir. Tremolo. op. 1.
- Ein siis~e1 Traum. op. 40. . La Gazelle. Piece caracteristique. op. 22. 2 30
- Zwe1 Bagatellen. op. 2. . . 1 30
- Erinnernng an tra.ute Stunden. op. 41. 1 50 La meme facilitte p. Wagner . . 2 30 1 30
1 50 La pauvre Mendiante. Melodie. op. 3..
- Verlornes Gllick. op. 42. . . Lcs DanaYues, Fantaisi~ de Caprice. op. 28. 5 1 30
- Die schone Reiterin. op. 43 .. 2 Nord et Sud. Deux Nocturnes op. 29. Souvenir. op. 4. . .
Maienglockchen. op. 2. . . . . 1 50
- Le cavalq1wt. op. 44. 2 No.1. Nocturne snr nn air suedois M. 1,50. lio.lL Noo-
80
1 50 tnrne sur \'(l,!e-s; rnphonir ,le Desert" M. 1,50 - Des .Miidchens Klage. Fantas1e. op. 6. 1
- Grnss von Berg zu Tbal. op. 45. 1 50
- Mein Schatzerl. op. 4lG. 1 80 nayons et Ornbrcs. Six pieces caract. op. 39. A.bendglockleiu. op. 11
Cab. 1. S~reuade. Marc he de n uit. La cloehe du soir
Veit, E. A., b"'estnmrsch op. 4. l
G:mz, W., Tyrolienne. op. 1 80 :a.1. 3,00. Cah. 2. Adieux a ill mer. Reverie. Chant 1
1. . . . . du soir, M. 2 ,RO. - fmpromptu. op. 5. . ,
- Souvemr de Wrest. Mazurka brillante. op. 4. 2 Deuxi{mlf Pvrtefeuille de Musique. Morceau:r - Albnmbhi,tter. op. 7. -:\o. 1-4.. a 60
- Santa Lucia. Transcription. op. 5. No. 2. 2 Wagner, E. D., Der erfahrene Clavierlehrer.
de Salot.. op. 61.
Le Bonheur supreme. Nocturne mel. op. 9. 2 No. 1. La !Jelle Mndelaint. Nocturne. M. l,bO. No. I. Melodische und sc11nellnirdernde Uebungs-
Sonvicns-toi. Melodic Chant. op. 10. . 1 50 Drei JiigerliedPr. M. :!,f10. No. S. Au bord de Ia mer,
sti.icke mit Bezeichlii<ng des Fingersatzes.
1 50 Romanc. M. 1,50. No. 4. Scherzo, U. 1,80. No. 5.
Paroles d'amonr. Romamce. op. 11. No. 1.
2 30 Saltarello, :\1 21 50. op. 23. Heft 1. 2. . . . a 2
Qui vive l. Galopp de Concert. op. 12.. Kinderleben. Kleine Stiicke. Hft. I. op. 62. 3 Kliinge aus der Kindenvelt, fUr das Piano-
La Ballenna. "Mazurka. op. 13. . . 1 80
1 80 - Dassell1e in 2 Abtheilungen . . . a 1 80 forte iibertragen. op. 26.
IJa Voglia . .Mazurka de Concert. op. 14. No. 1. Wer bat d:u Ailes ~o gemt.cht. 60 Pf. No. I.
1 80 Rathschlage und Stndien. Beitriige zur Soldi\tenlied, ~0 Pf. No. S. Ringelreihen. 50 Pr. :'lo. '
ViRion du Passe. op. ~!7. Schule des nenen Klavierspiels. ''P 74. 4 80 Wie!!enlied. 50 Pf. No.5, Tromm~llied. 80 Pf. No.6.
Je me souviens. op. 30 . 1 50
Lc~ Pastorales. up. 75. Vom lhnern uud den To.uben. 80 P! No.7, Rondino.
Golde, A., Une fl.eur de Pologne. op. 15. 1 50 No. l. Le Matin. M. l ,51). No. 2. Melaneolie. M. 1,110. Die Sche\len klingen. 1 M. No 8. Ron!iinn Liebel
2 50 :'lo. 3. So:itude. M. 1,50. No. 4. Au hord d11 rniueau, Hiitchen. 80 Pf. No. 9. Rondino. Wettcrm~nn beisa&
Elfenreigen. op. 16. mein Hahn. 1 M.
2 M. 1,50. No. 5. Avanture rusti;ue ~1 1,80.
Kroaten-Marsch. op. H. . . . . . Gruss a.n die klein en Pianoforte- Spieler.
Rosette moussue. Valse Caprice. op. 18. 1 80 Kindcrleben. Kleine Stucke. Hft. II. op. 81. 3 1 flO
Variat. iiber beliebte Themata. op. 28. cplt.
Souvenir de Tyrol. Pastorale. op. 20. 2 - Dasselbe in 2 Xbtheilungen a 1 80 1. A riette von \V. A. Mozart. 2. Carnev11l von Venedig,
Grande Polonaise brilhLnte. op. 21. . . 2 Im 1\'Iai. Impromptu. op. 90 .. 2 von Pa~anini, 3 Lied des Meerrniidchen~ ans Oberon
La petite Coqufltte. Pi[ece caract. op. 24. 2 Zwiegespriich. op. 94. . . . ~ von Ca;l Maria von Weber a 80 Pf.
2 Ondine. Piece de Salon. op. 112. . 2 50 Fautasien ii ber die beliebtesten Opernmelo-
Grande Valse brillaute. op. 25. . . . .
- Un jour de fete. Galop]~ brill. op. 28 . 2 50 Soldatcnlieder. op. 119. Klavierst\icke clien. op. 29. No. 1-:~o . . . .
No. I. Doui2etM.. Lucia dl L&mmermoor, No. 2. Dl)nl
a 1
Jacot et Lisette. Baga.telle. op. 37. 1 80 No. 1 .\hchied M. 1,50. No. ll. Victoria M 2,50.
t.etti, Lucretia Borgia. No. 3. Bellini. Norma. No, 4,
1 80 Arcadien. op. 120. Klavierstilcke. !"lotow, Martha, No. 5. Donizetti, Marie, die Tochter
- Elegie. op. 38. . 1, IdyU~ M 1.80. 2. Liebe~lied M. 1,80. S. Lind Iieber
- Souvenir de Wiesbaden.. O.lJ. 39.. 2 50 Reigen M. 2.30.
des Regiments. No, S. Auber, ciie l'!turnme von Portici.
No. 7. Verdi, Rigoletto. No. 8. Verdi, Troubadour,
Golbnick, A., La vallee des fees. op. 39. 1 50 Concert-Etude. op. 121 2 No. 9. Mozart, Don Juan. No. 10. Mozart, Figaro's
Lieder von ufozart frei Ubertragen. Hochteit. No. 11. Auber, Fra Di~volo. No. 12. Meyer
Srtiel, :Engen, Drei lm.Promptus. op. 2. 1 50 be~r, <lie Hugenotten. No. 13. Ro~sini. W\lhe.m Tell.
No. 1. An Chloe M. 2. No. 2. Treunung und Wieder

Reller, St., Concert-Etude
Henscliel, Ueorg, Secht: Klavierstiicke nach
Genrebildern. op. 13.
ltertel, P., l'!Iusik zu Flick und Flock's Aben-
teuer. B<Jllet von Pan l Taglioni.
Erstes Potpnurri, np. 32, M. 3. 1\weites Potpourri,
op. U, M. B Feuerwehr-G~.!opp, op. 89, M. l. Herz
li.lopf- Polka, op, 34., 80 Pf. Polka- Mazurka, op. 3!i,
50 Pt. Quadrille, op 36, M. l. Sailor boy's !lanse,
op. 37, 60 Pl. Quadrllle (neue Eiulage) op. 85, M. 1.
Shipmen AnglaiSQ. Rhein!. 1-'o'lka, op. 48, M. 1.
Fanta.isie briil. sur des motifs du ballet Sa-
tanella. op. 40.
Elliuor oder Traumen nnd Erwachen Ballet.
Potpoarri, op if>. ~of. 3. Poll;a. op. 16, 80 Pf. Polka
Mazurka, op. H, 8f! Pf. Ga.lopp, op. 48, M. 1. Wal-
'" op. 19, .\1. 1,1'>0. ~h:~ch, op. 50, 80 Pf. Quadrille,
O:l. 51, M. l.
Electra, oder die St('rne. Ballet.
Potpourri, op. &7. M. 3, Polh, op. 5il, 90 Pl. Polki.-
Mnnrka, op. 59, 8() Pf. Grosser ~hrsdt ml\ Tan&,
op. 60, M 1,3!). flalopp, op. 61, ~1. 1. Polka mill
aire. op. fl2, 8(; Pf. (;uadri!le, op. 5::l . 1\1, l.
Das ~chlecht bew;whte lVIiidchen. Ballet.
Pr1tpourri, up. 75, ~t 3. \Vatz~;r. op.76 ?.{, 1,50. Polka.,
''> 77, 80 l'f. !;>uadnlle, op, 7ti, M. l,SO
Hill~1, F., Ithy1hmisehe Stndie
- Materialien
30
vereinigun p: M. 2,
fur den Elementar-Klavier-Un-
2 30 I terricht.
H~f 1. Technische Studien. Firwerl;hnngPI! im Um
fang:P einer Qninte M. 2,50. Ildt 2. Ublln!l;en und
Hanrlstiicke M. l. Heft 3. Kleine 4hiir.dt~ Stiicke in
den gebriiurhli< hsten 1\lolltonarten M. 3.
Lange, H., Hen\rie. op. 6. . .
- Les cloe hc8 cle mon vill ::~~e. op. 7.
Arabesken. op. 79. No. l - 6
1. Seht ihr drei Rosse vrn rlem Wag<n. 2, Santa Lnr!
S, Abschied von der Heimath. 4. H.nch vom D~ch,lein
5. Das "ltrailiifterl. 6. Sch:af Herzenss.'ihnchen.
2 80 A.us der .Jugenclzit. Lied von R. Radecke.
op. 83.
l;orbeer nnd Ro.,e. Frmtasiestiick \i.ber da>
Uuett v0n ,) E. Grell. n[L 127
Lisr.tt Fr. v., .-\.m stillon H~nl. Lied a.ns R.
Wagner's ,.:Vleistersinger." Transcription
Zwei Concert-Btuden. No. l. Wahlesrausehen.
"No. 2. Gnomell reigen.
- Ave Mana . . . . . . .
- Bach's Orgelpilantasie c:nd Fuge in G-JiolL
I [,!)!!ell horn, A. , Se1 r)nBd( up. 22. , , . .
1 so I Bennion musi':lld. Sn ',J,Jr:.N11JX non diffi-
liT es. op. :.J,;),
l' n. 14. Boieldieu, die weis9e Dame. No. 15. Donizettl,
der Liebestrank, 'l"o. 16. Spohr, Jessonda. No. 17.
Rossini, der B.arbier von Sevilla. "o. 18. .Adam tier
Postilion von Lonjumeau. No. HI. Beilini, Romeo uud
Julie. No. 20. Balfe. die Zigeunerin. No. 21. Weber,
,Jer Freiscbiit~. No, 2!1. Gounod. Mar~~:arethe :-<o. 23.
Wagner, Tannhiiuser. No. 24. Wagner, Lolwngrin No. 25.
\!eyerbeer, die Afrik:>.nerin. No. 26. Verrli. Ernani.
2 :\o. 27. Flotow, Slr!>de~~" No. 28. Mo.art. die Z!IU
;.~rflote. No. 29. Meverbeer, Robert der Teurel. No. SO
2 Bellini, die Nachtwa'ndlerin.
a 1 50 1\linnesang. op. 34. No. 1-~5.
~o. 1. Gute Nacht, du mein nen.i~"s Kind. No. i.
<\<:h. wenn du wiirsl mein ~1gen. No. 3. 0 bitt' euo.h
!ieloe Vii!!Pie.in. No. 4. Dn lileino~, hlitJ.eude~ Sternrlein.
A ~~ I,RO. No.5. Es hat nicht bOll~n ~eln M. 2
Willkommen! Behebtc Volkslieder, Opern-
1rielodien, Sonaten, Sm!tm.-Themen etc.,
1 50 olmf~ Octavensp;tnnnni;, mit l!'ingersatz, in
fnrbchreit. Onlmmg. op. 35. , 4 60
1
3 Dassclbe rinz,:ln, Heft 1-6. . . a
Choralbnch znr christL Erb::tuung. Ent-
2
2 haltend die bekanntesten Choralmelodie~1.
fi'tr das Pianoforte . netto 4
1
3 Choeur des S<Jlclat.s, Duo et Valse de l'opera
.. ~largnt~rite de Gounod 1
1 f>O
Wurmhrauti-Vl':tbely, Grafin Stephanie. Drei
C:ha rakterst\icke. 'JP 8. a