7 6 TH E ETUD E ARTHUR P. SCHMIDT, BOSTON: 146 Boylston Street. NEW YORK: 136 Fifth Avenue. Music Publisher SOLE AGENT IN TH E UNITED STATES FOR Henry Z,itol T, Brunswick, Germany, and Edition Chanot (Violin Music). FINGER TRAINING. A Progressive Course of Funda= mental Technic. B Y CAR L STASNY . PRICE, $2.00 Net. " Finger Training " is aptly styled a systematic course of Pianoforte Exercises for daily use. This addition to the technical needs of the pianist is eminently concise, and consists of thumb exercises, preparatory arpeggios, staccato, two notes against three, etc., etc. The subject of octaves is not treated. The daily practise of scales and arpeggios in their various forms is an important feature of the work. The author has evidently and sensibly desired to impress upon the student the necessity of economy in time and labor, holding that the necessary fundamental laws hav-ing been gained, it were better that the higher and more difficult branches of technic be acquired by the study of the works of the masters. In this respect he has done the art a service and ren-dered the student invaluable aid by exacting of him only the amount of labor absolutely required for the proper understanding and grounding of a substantial technic. Octave Exercises and Etudes. B Y H . "N. REDMAN . OF 3. 11. PRICE, $1.50. A progressive order, simple explanatory notes, variable and unique forms, constitute the leading features of the first pait of this invaluable work. The second pait is of great importance, containing as it does selections from Koehler, Doering, Czerny, Thalbe»g, Bach, Schumann, Beethoven, and Chopin. Arranged by the author for Octave Prac tise. The whole work is of inestimable value and suggests to the intelligence of teacher and pupil alike the advan-tage of its immediate utility. Easy Teaching Pieces. ALETrER , W . Op . 150. Th e Firs t Ball. . No. 1. The Young Patriot. March $0.25 No. 2. T dings from Home. Waltz 25 No. 3. Feodora. Polka-Mazurka 25 No. 4. Ever Merry. Polka 25 Op . 151. Thre e Eas y Pian o Pieces . No 1. Birthday Gavotte No. 2. Summer Skies. Tarantelle No. 3. The Sleeping Beauty .25 .25 .25 No. No. No. No. No. No. No. 8. No. 9. No. 10. ROHDE , ED . Op . 76 . Th e Littl e Folks . No. 1. Ia Happy Youth 2) The B at Ride. 25 A Peasant Dance .25 Perversity 25 Doll's Lullaby 25 Hi arity .25 Dragon flies 25 Hunting Song .25 Grandpapa's Music Box 2,5 At the Children's Ball 2g Three sets of easy melodious compositions that cannot fail to awaken interest in the pupil. Teachers who examine the same will welcome this addition to the list of Valuable Teaching Pieces. Emi l pau r an d th e IJsz t Or^a p EMIL PAUR , the distinguished artist, conductor of the New York Philharmonic Society, the Paur Symphony Orchestra, and one of the world's most illustrious living musicians, writes as follows: Ntw YORK , February 1, 1899. MESSRS. MASO N & HAMLI N COMPAN Y : GENTLEMEN: After having used in my house for several years one of your two-manual pedal bass Liszt organs I desire to express to you my sincere ad-miration for the instrument. I have never played an organ—with the excep-tion of large pipe organs—which is its equal, and I congratulate you on build-ing an organ which I believe to be the mos t perfect instrument of its class, combining as it does a beautiful variety of tone color, splendor of full organ and capacity to stand in tune. For small churches, the music room, and salon it is unquestionably the organ par excellence. Very truly yours, (Signed) EMI L PAUR . ILLUSTRATED CATALOGUE MAILED ON APPLICATION. BOSTON . NE M YORK . Philadelphia Representative, CH^LiE S H . FISCHER , -1710 Chestnut Street. CLAYTON F. SUMMY CO., 220 Wabash Avenue, Chicago, 111., SOLE REPRESENTATIVES IN CHICAGO FOR TH E CHICKERING PIANO. Publishers and Importers of Music, General Dealers in Pianos and Music of the Better Class. CONDENSED FINGER TECHNIC. F3. C . LUTK1N . PART I . PART II . PART III . Rhythmical Five-Finger Exer= cises, including syncopations and unequal rhythms, $0.60 Schooling of the Thumb. Prepara tory to scale and arpeggio study, . Preparatory Exercises in Part Playing, .50 .60 " rrONDENSED FINGER TECHNIC " is the result of a need which the compiler experienced in his work as a teacher of piano playing. Students came to him with fair ability and considerable famili-arity with the keyboard, but with indifferently developed technic and superficial notions in regard to rhythm, phras-ing, and accuracy in general. A vigorous drill was found necessary in all these matters and just the right material seemed not at hand. This series of technical studies attempts to fill this want, and it is arranged on the following general plan : PART I is confined to the first principle of finger technic—that of controlling the five fingeis in successive order under all conditions. This is carried out by hav-ing the hands alternately play in slow tempo while the other hand plays constantly changing time combinations, varying trom quarter notes to thirty-second notes. Syn-copations and unequal rhythms are also included. At first adjacent notes are used and later the stretches in-volved in triads and sept-chords. The hand goes through an immense amount of varying positions and motions, the fingers receive a great deal of direct physical exer-cise, a finer discrimination in time-values is developed, and attention is compelled by the constant and abrupt changes of rhythm. PART II is devoted entirely to the schooling of the thumb. It is first trained to pass under one finger, then two, three, and four. This is followed by preliminary scale studies carried out in like order. Next, arpeggio playing.is prepared by exhaustive studies—first the diminished sept-chords, then the triads and dominant sept-chords. The difficulties are all exaggerated by tied-over notes which enforce absolute connection and make the practical playing of arpeggios comparatively easy after the studies have been mastered. Many of the exercises found in this part are used by the preparatory teachers in Theodore Leschetizky's famous Piano School. PART III consists of exercises in part-playing and is especially intended as a preparation lor Bach. Pian-ists, as a rule, are very deficient in this regard, and have but little conception of the movement or the importance of inner voices. Simple studies in two parts for each hand alone are first presented, and the difficulties are gradually increased by the addition of syncopations, substitutions, finger crossings, and slidings. Practical excerpts from the Three-voiced Inventions and Fugues of Bach conclude the part. The series will be continued by sections devoted to Phrasing, Embellishments, Wrist Motions, Octave-play-ing, etc., and will be duly announced. CLAYTON F. SUMMY CO., PUBLISHERS , 220 Wabash Avenue, - Chicago. Summy's Bulletin of New Music sent free upon application.
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