S CHI RAVE PL'S

LI B FLA FLY
Vol. 136

BERTINI p

TWENTY-FIVE
fc
<

EASY

STUDIES
Op. 100

pr. 75c

^//V7/VV/VVrt\V/V'yVV/VV^7#VV#VV/*\Y#VV/VV*VV#*vV/\\V/V^^\7^\V5
 HAROLD B. LEE LIBRARY
BRIGHAM YOUNG UNIVERSITY
PROVO, UTAH

f
T

Schirmer's Library of Musical

Classics.

Vol. 136.

H. BERTINI
Twenty-five

Easy Studies
FOR THE

PIANO
Without Octaves

%
Op. 100

Revised, Fingered and Edited

by

MAX VOGRICH and G. BUONAMICI

NEW YORK : G SCHIRMER

BOSTON : BOSTON MUSIC CO.
1892

Printed In the U.S.A.

 Etude I.

Fingering, Phrasing" and Annotations by

G. BUONAMICI. H.BERTINI. Op. 100.

Allegretto. (J = lie.)

Piano. semP re legato

ten

/
/

Before playing this study and the subsequent ones with the shadings and in the movements indicated,playthem
slowly and always loud, giving a special prominence to the accented notes of the measure, and even, if need
be, to the unaccented ones.
This exercise should accordingly be practiced thus:

^m also thus.- v r
|| J-g
g
The comma(>), found in the 10th measure, and which will be found in other places in the course of these Stud-
ies, indicates a raising of the hand as much as is necessary for separating clearly one phrase from another,like

the sign by which teachers of singing point out when breath must be taken.
At first, the hands should be practiced separately, and a special study should be made of those measures, of
those passages, or details, which offer some difficulty, whether in the right or the left hand.
The use of the Metronome is strongly recommended.
These four observations are intended to apply throughout all these Studies.

10482 Copyright 884 by G.Schirmer.

Printed In the U.S.A.
*ftOLO B. LEE URR*qv

PROVO, UTAH
 8-
ten. 4

*
m l 3

^ -e- ^^ ^E^
XT
i
pp
^i
10482
r ^ * ~ :
IE
P^ fe^
i #
s
Fingering and Phrasing by Etude II.
G.BUONAMICI

^^ffl
J
Allegro moderato

jijan^
m t Jf
(J = 126)

^
1 4
1
CI
]Jjjj" == :
3 1

1 3 3
/5
m '*
3J

*** pes iferf

**
fc^
^
S

*
^ n
&>
rs:
^
&
piu lento

S^gg
z 3 i a i

^]/I J
-*
SSffil
2>

10422 Copyright, 1X&4 by G.Sch inner.

}
Revised and fingered by Etude III.
MAX V0GR1CH.
Andantino. rj
3

.3 1

a tempo
4

4 5

10422 Copyright 1892 by G. Schirmer.

6

Etude IV.
Fingering, Phrasing, Annotations by
G.BUONAMICI
Movimento diValzer (J> = 168)
( Wa It z - movemen t

*
s #
-4
*k

#
s # =
7
*

? f
w/*0 tempo Fine.
f
** 5 T ^ y ^^ g -
r-r- -r-r 1
j
y
2 F

Notice here the fingering, which, though, at first, somewhat more difficult thau the ordinary fingering^ 3 *), e t
y
ensures a much more certain and correct execution.

10422 Copyright, 1884, by G.Schirmer.

 5

^
4 3 8 4 3 4 3 4 3

n fe *--s
1 1

1=1
1

*^igi
1 1

^SB
* 2 J * 1
?
IIV

m s 2=
P

# ^ *
3 1

* 3
3
J J
1*. 2 3
I
cre.sc.

5
J g J
31 *

3
P

5
5 5
4 3 3
1 * 1

I &
* ;7-
+ I %
3:

*p S j J * * m
^
a
^
J

10422 D.C.sin'al Fine.

 Etude V.
Revised and fingered by
MAX VOGRICH.
Lento e religiose rj = 72.)
r\
C\ 4 4
5 34
* -T

-6
V -6- #
-tk
=# ^ -<9-
<5>) 6
=0
-ts-

i9-
l
/!P #? sostenuto

S3 W ^ _o_

- i
5
t9- ^2:
r 53
I l a
3 S

a tempo

I
*

railen _ fan to.
-43-

#
-\

=8
r\

T5
3

5E=g s 54

1*
5
6
JF^ ^ ^
6
8

ta:

^ P P
n.
m V T7 rr.
5
XX
9-
-& %=& gEfe
1 i 51
5
5
3
3

8 3 3
*
I wu $ w * 77 tw ran;:
m 1%

*> i
f <tp
:
49-

1
5
#
^r
^ 1

8
--
-43- Xt
ti

1
5
S

* -54-

%
p
S
*r w
-**-
-fi

\d

p
(P m
34

v 6- 'yet
P? S TW
r
5 4 35

r
5
1

i
5
5, 4

i9 ^V
ei :5C
--
--
# 2=9 gEfe xe s
*I -9-
# Z2 txt
5 1 5 :i 51 1
5 3 4 43 5 4

^
/^

$
-4-

a^
2>
m ==
3
ff
V!
*;
i
77
ral

i
len

-*3-
. tan. do.

r^ ||9
C\

smorztndo

^s /T\

54
35
_Q_ -o-
--
U i
-cv
xt g= XE

104^* Copyright 1892 by G.Schirmer.

 9

Etude VI.
Fingering, Phrasing, Annotations by
G.BUONAMICI

Allegretto J

***** inM f te

From this study, the pupil may

learn not only to change fingers on the same key, but also to observe the rests,
giving them their full value; a thing not so easy as one would suppose,and, as a rule,not sufficiently attended to
by young musicians. Here, the Metronome, as an inexorable judge, will be of great assistance.

10422 Copyright^GS^ by G Schirmer.

 10
Revised and fingered by
MAX VOGRICH.
Etude VII.
Allegretto. (o = 8h.)
4 5 4
4 sostenuto. 2i 1

g a
i 3E
Si
&-
s:
a j
q*

S i>
-^

r m
-0-
A
-4^-
#--#

m
s
i
#-*-# ^

A
i # * # -n #--# :^
'9
k
0-M-+

m s:

ten.
-4-
--
X

B
Z2
fen.

& 4=4 i
i fe

t '4
t
B
t ^
^
l <2
2
r/TST. .
T
T T T T T
T
M m es
f \*

m w m
5 4 5
lUt
l^gi i i

i
t ^
t
;j

r
h j i
&
ir
4

1
aru mtiJ
crc.sc.
j*-

_
fe
^
dimi .

i ^ *=

5 - a
4

V ^ 4^_
~ 4
4

4
gGT> f y;
I 2=d
ftfrr

nuen
3
_
i rrfrV^tf
</#
S ^m ggtfif tt
ffif^ ^

P |4
i *
f-T-^
^g i

'f JXT lf [f P T [ff

scen _
r
s ccr
J
cscr
s
4 4

S3S fe
% #
m 9- 9- U*

s <&
S *
_
*
**a
"tt
feg fe^ fe^ nuen

do
^^
ral -

!b ^4# 5

10*22 Copyright /S.92 by G.Schtrmcr.

* s
^^
. >
len
s:
Ltfgrrr
/aw
i ^
4

m i

J
m m m
LL J
^

4 4
1
&8.

i m * a 3
#
Z2
^-
-
2Z
t
i

*JF

A
gfg #-^i*
sI A
flfH IS
"5"
s sT y T

fc. 4
i
I j - <5^ s ^
i
ff
tfg IT
ff
C
ijCCfr ^j
fe
rn?.r m i

^ ff^a
t y T
r
te V
t

^A
s
A
ere .
*
A
m +

seen
\

A
s </#
# >

^m
**-*

dimi
A
* m P N

A
l
#-.-*

_ </<?.

i
s & i A

I
fce =M
m "*~

^ m
* # '-"
y i
p

m
^
i?

i ^ / -^ * ^ ^^ w.#:

W
W.^.
xs:

I =S2:
43
5
*

fc
3

^ i
W 1
i
5
3

z=^
2 3

i s /?\

XT

=^
10*22
^ ^
Si
B?
i
9 i 3=
-O
2>

-g- u !ro
i>
~ r
12
Etude VIII.
Fingering, Phrasing-, Annotations by
G.BUONAMICI.
Allegretto. c&i = 8R.)
non leg'afo.

non legato.

3 /
t^
Pit * i
p p r r rr'T^vi

a i

or esc. _
j-^
-2_4
v 1 f"

1
f~ P
- p /
JT
!

1

* 5" 9

I S^ p*^ *#VJ
m* -
1 4 1
#

do.
^
p
J045J2
4 1 _
-4-
y^P
i
-4-

4 iX
/
S -4-1-

fe
w=+
4
S^S 4

The measures lacking slurs and dots above the notes are to be executed not exactly legato nor staccato, but
somewhat between the two, corresponding to the picchettato of the violinist, and expressed in the language of the pi-
anist by the term: non legato. See, with regard to this, also the annotation to Study N<? 44.
Copyright, 1XS4, by GSchirmer. Printed in the 17. S. A.
 m
m #
-S-3-
4 5l
gg
s
3
****
^
TE
4 1

%
-
i
~3~ *=?
/

XT
4
^^
<Vtf

^ y=^
_ seen

f
^
...^ga^.
l

pawa...&fr

4 * m+

to /
=;
3X 331

fc 3X

S 3 P
'</* i

^* ^
dfrVft.
i ///

i
*i
PPff
^ /T\

^>
-* 3 * 5
l *
10422
14
Etude IX.
Fingering and Phrasing by
G. BUONAMICI
Allegro (J = ion)
u legatissimo

9+ 1
8

5
1 1 * 3 , 1" , * 1 1 * ml 1
2 * #: *u * it #
i

i *
4T
^ ^^ I
s fe^

*
cresc.
* 1 3
2 3 *

f
3 , 2
1

S 3 2
*:* ^8-

^ ;
i *
/

*
1
-3- m W=^ 1 3
3
j S
~ 5

cresc.
Si3
1 f ^5-
f

3 i
2-

10423 Copyright, 1884, by G. Schirmer.

 * -3^1-
-| 3-H8- n a -3-^
F=#
^=ra cresc.
a
5 m
i
_
* 2
-6-0
l
-8-
* l

P.
& * * dim.

P*
1
t t
*- i i, t "3" ^^

H 5
ff
-- *-p-
3 e i 3 a -i- a a 1> *
i 3 a *-+- J _^ -J 3 g
3=
,

1
dim

r kg -
r i

:

f *
_-_!: 3
1

%
4
f3

?
* f yj
4
,
t
3
^
J
V
1

^^m
4 4 4^ 4 3
^r tz^m
v r r

iresc.i'

PM
f-

m f-w

10122
16
Fingering: and Phrasing: by
G.BUONAMICI ,
Etude X.
Movimento di Valzer (J 18 'A)

(Wultz-niovemeut;

10422 Copyright, IS S4, by G.Schirmer.

Printed in the U. S. A.
Revised and fingered by
Etude XL 17
MAX VOGRICH.
,. Allegretto. (d
Co =88.
= 88.) i
M Jt\mm.

^g
a ^rrfc JrS r^

fc|
^ 3 M
leg'giero.

j ^ i
1-4 ^ i

P
>
fe
gEfgrfcrffft

r t i
'"
HP
F^=e
A

% ^
SI
Fine.

Sc
/
S 4 *
1
'1 i

PS?
s*s^
*
ISh #-F--* T
-#

IS s I

~ i r p
L^-
ffr f
1
f f ff
*U rL^ ^** I BE2i2
f
:
yry vn
9^
I E^ t
#

feE^
04-
2X
4

p m
(9
,*- "

^
L1
#4g** tesftg -f a F j ffffl ligg
Cpgrtrccr
4
>^ f i
jj E^JE r^ 1 1 P=&i ll t t
w*
i

aj
*
*^
grwW 'H^hy^P^t Hggfg
lffl mm tei
yryyy fefefe

a
ir ^ ^i ^ \i *
*
v
*ki 4* 1 s
n^t- Wm ~Xt

10%2-Z Printed in the U.S. A.

Copyright, 1S9Z, by G. Schirmer.
DC
 9
L
Fingering-, ps
. . ...
.
,
Phrasing-, Annotations by
Etude XII.
G.BUONAMICI
Andante (Jz76)
(The chords well sustained.) (Sostenganse bien los acordes)

leg'atissimo il basso

rail.. i %
4
f^ f r f' rrr 1 '
1 ^ 4 '
3 -
-* 1 fl

* U^~
9Q.^~
LU'LU'Llj' 4 1
a * ^ STIQTB
4 1
~% l?rmS* fe: flY-w
^J
m 9 *- --
i
in tempo
4

r
4 1 ^^^1 -*8- \ rJiV kr \
*-+-

It will be well to practice both the fingerings indicated, and to transpose the Study F$
gerings. '
into ^ thu same fin-
keeping

10*88 Copyright, t884,by G.Schirmer.

 19
Fingering: and Phrasing" by Etude XIII.
G.BUONAMICI
Allegretto (6 = 88)

p0m
5 4 *

i
xfi&fcA*. MM&&gm
mm &
15
s 1
* ^ & *
m
* ^

10422 Copyright, i$84, by G. Schirmer.

so

Etude XIV.
Fingering:, Phrasing, Annotations by
G.BUONAMICI.
Allegro. (a = 108.)
4

i ^ ^j lL LT
#

3 3 4 3 4 * 4
1 =z
if '

It will be very useful for the study of the Trill to practice this exercise thus also.-

iu which case the execution of measure 15 may be :

Transpose this Study into G\>.

i04^a Copyright, 1884, by G.Schirmer.

Printed in the U.S. A.
 21

$
I:
ten.

XE
ten.

TEi
* d
4 5 4
ten.

**#
^JT^
P /9I o o -*T ^1
S
1 1

^#
x*
ftv?.
-tv
* m
tfew.

Hj
* * *
f=f= H

3 XT ^ m m 1 -- -o# 3
^ 4~
* m

^ o^rrrrg 54
XV
iri
2 * * 1

XE

4
*
IE tW=^
I* X**
W* sino

! ^ xh
2
9
1
P
3
*
f
-0-
4
-e- EEB
i
2 1

XE

I
9
*
oaL^
=w=*
-o-
"
o^
= s-
s -/
4545
fe
P^ S * nl
54 -4-
xv yffff XE xv
Ia*

4 5 4 5 454 4545
* 1

agPI
fmfa*m
or IS ip
4 4
-0-m-0-m^0
o
1 f ?0
=p^ 4U5 4 5 -

( s -i o-
JDL
XE XE

ih
-#
^*^
W&
r*
o#

XE
* * *
otiiTTT
1
xv-
pnco___a_
d*
*i: XT

xv
^0^0
0* d +d
diminuen
XE
XE
a
CSa
4 a 4 s

B.C. sin' a I Fine.

l(Hj>5>
22 Etude XV.
Revised and fingered by
MAX VOGRICH.
Allegretto semplice. (J. = 84.
1 4 3

S
5
k5 fi^
i m P Pf=fc ^5 1
P
1

W^
^
i?
2Z fc=l zz fe=i &

tm 2
w

St
,

p
k
^i g
p=0.

f
i
s fe=t u
ti:

i===53 it
$
S I ti
rwfy 5

rk 15
\r^fd feEgE2 P a P Ji P y J)p ?
* l

#
$ I P==P
^

? n J) J. J)y
V f
i

t S
I w
i ^^ 1

ff
^y y i } y y
U 533e|
y y j y y
P^P r-y- 3*
i

MP
1
4 3
5 4

*
*

2?
%
<?
Sa
legato.
7=
V
t
^=
P m S^5=^
fcfe

55=!r
1 8 =*5
m >>y
* % l^p y y
$ I
cs ^^
"#!

t g r7J>J
i
J)
^
p
2

=t ^ ^ i
#*
ffft
P
/ fe

S
ere seen . . do.
f
11111=1111
IflLi
tiJb*y i==fe&
m ^m
=ft

a tempo.
C\ r\
*= i
P J>
P?>py s =t
t * I y r.
?
P * ),
* y P i)? p *-*-*

r\
/#fo. -^ r/- /<?# _ tan . - do

1=
=^ P^i>
ff
r
*
h? y
})
y ^ ^
y y h r-y-
^ i -r-r- :

10422 Copyright 1892 by G.Schirmer.

 23
Revised and fingered by KlUde XVI.
MAX VOGRICH.
Andante quasi Allegretto. (J.= 84.)

// basso ben tenuto.

ppi 1
$ yyt y9
:
+*-
I ^zm
4 w w

i
*
i"i7tffr^>

dim in .
^ B
^> ? />^? Mt\f&+\ f-m\n

ral len tan - do.

4
-*t-
3

g| f ^
P T< t
->

10422 Copyright 1892 by G. Schirmer.

24
Fingering, Phrasing, Annotations by
Etude XVII.
G.BUONAMICI.
Allegretto. (J = 138.) . 32 a * ?
1 o i 3 3 ! 3 2 .1
Zi S 2 Z
Q ft t\ Jk
8
k* '
1,0 - -0 - * ^ \B * 8
L
* *
f,0 *** '
1 1

1> cresc

ra
g *; r> * r>

4
tt
*",
E ^
54 3 o 1
3 1 1

I cresc. _

4 ~ 3
1 V *
5

4
a 2
3 4
2 *
3 M 3a 5 54 54 40

p* 7
?* *&$$$$<$&
^ si
p*
**^-K
/'

'>* Jwi*.
f
? Jf
# FP^ & 7 J)
3
y
crescendo

i)
i 5

5 4 5 4 5 4
3 *!? ** 3a a??
Ma^g Sfi
.

t*-.
3 2i
-. m00
3 2 13 2 3

*
sis "tffpfep
cresc
Wffi E
///
*/
^ F^F
-(9- 1
F
a
tf
pe
fe f 2=
?7
i^S
*^fe#
^P 5=

54 4 3

= 2 3
13 2 a
?P
J

'?
(
u
feS -

^ yp^P'CMp cWpff*n
1 13 2 8

B.C. sin a I Fine.

[TV < j m

Observe the change of fingers ou the same key. This change, unnecessary at the time when these studies were
written, has become indispensable through the modern construction of the pianoforte, the keys of which sink very
much lower than formerly, hence, might easily fail to repeat a sound struck by the same finger.
10422 Copyright. i8S4, bv G. Schirmer.
Printed in the tfr. S. A.
 Etude XVIII.
Fingering Phrasing", Annotations by
-

G.BUONAMICI.
Allegretto. (= 88.)
4 3
%

# t^it

ppi fjr y>y 7 y? ^??

* L j
v
i
77,1 77
I
5 7z ^fc^
H S cresc. multo. .

/?. S. sin a I Fine.

General Rule-. When two

different notes, of whatsoever value, but both equal, are united by a slur,the 1st uo te is
accentuated and held for its full value, the 24 one for half its value or even less, and without any accent.
The accent given tothels_* note will, of course.be conformable to the degree of force in general given to the phrase in
which this note is found.
Accordingly, in the 23d measure of this Study, the left hand will execute thus: ?
-j h *-
~i**1 a " ( * *' le
*~~f*"1 1

acecent will be slight, because we have the diminuenlo of a mezzo -forte. ^ _>"

1042;> Copyright, tS84,by G.Schirmer.

Printed in the'U. S. A.
2G
Etude XIX
Fingering:, Phrasing", Annotations by
G.BUONAMICI

5454J 5454
Andante = 96)
5 4 5-* simile

m ^
4 3
k
iff
fcz
# * *
* * 12

a^ ^ ^
1

s i7T3, 7J]
rr.
r

1
s

f
7T2JT72
5 4
173 1771
5 4

* i 3 ^.
5 4
iili
y v 1 ,i

^iFr^ ^ e5
trc i f
3:
3 w *
of 1*1* dim. crese.

m XL

r
5
\J
a J JJJ Ji
l o a
r
5
'

cmitf
4?a3*3*
ss 543*
<f"\
'
t v
/ a a a ~a^\
-f- r r
t aa m. m^
t :>!
i
aa
i

1 5 4 3 5 1 4 3 * 5

D. C. sin' a I Fine.
Here, too, though the fingering may seem somewhat complicated, it is, nevertheless, decidedly preferable to the re.
petition with the same finger, which always produces inexactness and uncertainty in the rhythm.

10422 Copyright, 18X4, by G. Schirmer.

 27
Revised and fingered by
Etude XX.
MAX VOGRICH.
Andante. (P = 126.)
5
4

&
2

FRF? ^ WF*

Mk I
&=*=* *=** *tf=f

H
2>

ra *' M A
i #-r
i
5

10422 Copyright IS 9 2 by G. Schirmer.

28
Etude XXI.
Revised and fingered by
MAX VOGRICH.
Andante. (J = so.;

^
5 simile. ^ 4 3
ft
IT 1
M
T 1 T

* E 4 *=^B I:
s
t Ip UWrl p f i r y
j \
v

^ fp=p e=^ ere

cresc.

E=P= iTT bi
w w
E^? it
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10482 Copyright 1892 by G. Schirmer.

 2d

Revised and fingered by

Etude XXII.
MAX VOGRICH.

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Allegretto.

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10422
3
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Copyright 1892 by G.Schirmer.
30
Etude XXIII
Revised and fingered by
MAX VOGRICH.
Allegro moderate (J = 96.)

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1042'<i Copyright 18V2 by G.Schirmer.

 31

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10422 5 3 * o *
32

Fing-ering, Phrasing-, Annotations bv

Hi t Ude XXI V.
G.BUONAMICI
Allegro mo derato (J=9e)

11

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9 m^g ^
f J)
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43

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4 4

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1
c scf cccrcgLr
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t P t

I ?J)y st
=5

The transposition of this Study a half step lower (into 6% minor) will be of the greatest utility.
10428 Copyright, 18S4, by G.Schirmer.
 33
8 n

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a
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10*22
34
Etude XXV.
Fingering and Phrasing by
G.BVONAMICI
Allegretto, quasi andante J = ss)

5 4

&^S z 3 1 3 * 3
*n
2
z ^g-g

mf
U W^ a
WP
4 t

10422 Copyright, I884y by G. Schirmer.

 35

4 3

10422
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(Scharfenberg) 75 1147 SCHOOL OF MELODY
Collecion de escaias y ejercJcios
1083
(Spanish edition) 75
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PLAYING
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1186
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482
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1154
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