Modern Music and Musicians, Edited by Paderewski

Modern music and musicians ... / editor-in-chief, Louis C. Elson.
Also including almost the entire Century library of music, edited

by Ignace J. Paderewski, and all of the works contained in the list
of The one hundred greatest compositions for the piano.
New York : University Society, [c1918]
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MODERN MUSIC
AND MUSICIANS
EDITOR'INfCI-IIEF
LOUIS . ELSON
MANAGING EDITOR
NICHOLAS DE VORE
ASSOCIATE AND ASSISTANT EDITORS
MORTIMER WILSON
BERNARD BOEKELMAN
RUDOLPH GANZ
ARTHUR ELSON
ALEXANDER LAMBERT
SIDNEY SILBER
GUY BEVIER WILLIAMS HOMER N. BARTLETT
CHARLES DENNEE
MAURICE DUMESNIL
GUSTAV L. BECKER
HENRY HOLDEN HUSS
EUGENE SIMPSON
AUGUST FRAEMCKE
JOSEPH PRIAULX
GROVER BROWER
ALEXANDER PERO
CESAR SAERCHINGER
ALSO INCLUDING
ALMOST THE ENTIRE
CENTURY LIBRARY OF MUSIC

Edited
IGNACE J. PADEREWSKI
AND ALL OF THE WORKS CONTAINED
IN THE LIST OF
THE ONE HUNDRED GREATEST COMPOSITIONS

Committee
FANNIE BLOOMEIELDEEISLER
AUGUST ERAEMCKE
CHARLES DENNEE
EOR THE
PIANO
of Selection
BERNARD BOEKELMAN
ARTHUR EOOTE
EANNY MORRIS SMITH
NICHOLAS DE VORE
V
NORMAL STUDY
VOLUME
GENERAL AND GRADED INDEXES

THE UNIVERSITY SOCIETY INC.
NEW YORK
THE UNIvl-:RslTY SOCIETY, IN1;

COPYRIGHT, 1918, BY
ULI
/,\.
3'3
\/|3
TABLE OF CONTENTS
VOLUME V
PAG!
Elementary Exercises for Beginners
Second Grade Studies
61
PIECES FOR THE SECOND GRADE

Op. 127
Dancing Under the Linden Tree
Dollys Dreaming, Op. 202, No.
- Rose Mazurka
Sonatine,
REINECKE
85
REINECKE
OESTEN
90
92
93
Morning Prayer, Op. 101, No. 2

Under the Lindens - - -
SCHMOLL
GURLITT
BEAUMONT
89
94
Minuet
PLEYEL
96
Polka
KHLER
96
2 -
SCHUMANN
Soldiers March,
LAcoMBE
98
The Fair, Op. 101, No. 8 Merry Dance -
99
GURLITT
HEINs
100
Little Princess
KULLAK
KULLAK
102
103
Once There
Was
97
Indian
Dance -
Op. 68, No.
Valse Mignonne
Contemplation
STREABBOG
LICHNER
DUvERNoY
Op. 26, No. l

Cheerfulness
CLEMENTI
Lw
The
Clock
Valse Bleuette
Sonatina,
Song of the Miller Maid

The Merry Farmer, Op.
6'8,
No.
10
Invitation to the Dance (Simplified)

FairyPolka - - - Op. 36, No.
Andante, from Sonatine,
104
106
108
110
114
ScHMoLL
116
SCHUMANN
WEBER
SPINDLER
118
117
120
CLEMENTI
BAcH
Rondo, Op. 20, No. 1 Loss - Huntsman
DUssEK
GURLITT
MERKEL
The Wild Horseman, Op.
68,
ScHUMANN
BURGMLLER
130
135
Minuet,
G Major
]11
No.
-
Rondo alla Turca
Six Easy Variations
on a Swiss Song
BEETHOVEN
121
124
128
123
127
129
TABLE
iv
CONTENTS
PAGE
HOFMANN
SPINDLER
140
Playing Tag
142
_
144
146
152
152
LittleRogue
Polonaise
Christmas Tree
Tarantelle
LOEsCHORN
GADE _
LOEsCHORN
SCHARWENKA
SCHMOLL
_.
.
.
Curious Story - - - - Technical Exercises Preparatory

_
~ _
Third Grade Studies
March
Waltz
139
to the
_
150
HELLER
Third Grade
155
167
SCHUMANN
GRIEG
209
210
REINHOLD
SCHUMANN
211
213
PIECES FOR THE THIRD GRADE

Norse Song, Op. 68, No. 14 Wchterlied, Op. 12, No. 3
TheMill-_-
Coquetry
Knight Rupert, Op. 68, No.
12
215
219
222
E-flat -
MOZART
225
SPINDLER
228
PHILIPP SCHARWENKA
BACHMANN
234
238
240
Barcarolle
No. V, B-flat Major
Valse Arienne
Menuetto
Song of the Ploughman

Saltarello
Eln Dance, Op. 12, No. 41
Six Variations, G Major
SCHMOLL
GRIEG
BEETHOVEN
MoszKOwsKl
CHOPIN
CHOPIN
SDERMAN
BACH
No. 3
Prelude, Op. 28, No. 9 _ _ _ _
Prelude, Op. 28, No. 7 _ _ _ Swedish Wedding March No. I, F Major
Gavotte, from the Fifth French Suite
Impromptu, Op. 142, No. 2 - - _
Mazurka, Op.
Scarf Dance
Ochsenmenuett
10,
232
242
249
251
252
253
256
SCHUBERT
257
260
CHAMINADE
HAYDN
262
GODARD
264
268
COUPERINMOZART _
272
SCHUBERT
276
BEETHOVEN
278
MENDELssOHN
_
CHOPIN

CHOPIN
280
Au Matin, Op. 83 - _ _ _ - _
_
The Nun _ _
Sonata,
March,
from
Major
Turkish
Minuet and Trio, B Minor
Bagatelle, Op. 33, No. 6
Spring Song, Op. 62, No. 6
Valse, Op. 64, No. 1
- - - Nocturne, Op. 9, No. 2
Selected
JENSEN
FIELD
GADE
Nocturne
Minuet,
Fourth Grade Studies
284
288
291
TABLE OF CONTENTS
Y
PAGE
PIECES FOR THE FOURTH AND FIFTH GRADES
A Major
SCARLATTI
317
June; Barcarolle, from The Seasons

Spring; Op. 43, No. 6 . .
Minuet, Op. 14, No. 1 _ . - Variations, The Harmonious Blacksmith
Spinning Song, Op. 67, No. 4
TscHAIKOWsKY
322
Op. 57 - - - - - - Sonata quasi una Fantasia, Op. 27, No.
CHOPIN
Sonata,
Berceuse,
Adagio sostenuto
Allegretto
Presto agitato
Andante with Variations,
F Minor
GRIEG
328
PADEREWSKI
333
HANDEL
338
MENDELssoHN
344
BEETHOVEN
HAYDN
350
356
375
Elementary Exercises for Beginners

Edited by Charles Denne
ELEMENTS OF MUSIC
Musical notation is expressed by notes printed upon a staff consisting of five lines and four spaces
with added, or leger, lines above and below to augment its scope.
ne
ne
The musical alphabet consists of seven letters, A, B, C, D, E, F, G,
en?
ege:l_1.
mes
'l'
Tenth
.
Nimh
.g
beore
eV gtoling
II
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=
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iAbovethelegeu;es
Slxth
l ,
INTERVALS

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D
B
G
.
Third
Second
_.
very thoroughly
Fourth
_
l' - _ =
22:
Below the staff;

on the keys,
=
.
*$-
-o-
Learn the notes, and their location
Ir
"
.1.'-.'
F
EAbove the staff;
AE
i_ 2E
__
5
.
E G
""
FEDCBAG,*v;-:::
- 7
FGABvgtf:
*,13-
BASS or F clef usually employed for Left Hand

E F
_-
Ab ove rh s fr-
Notes on the five lines; 0n the four spaces;
A
Ge
'
A v ll
lr
COMPARATIVE VALUE OF NOTES

Study these values very carefully before playing any exercises.
Nit
" -
Nm
64 Sixty-fourthNotes
735_60
Half
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Eighth
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Quarter
_ _ _ _
Copyright 1.912, by The liversty ,
Inc.
Sixteenth
_____ _J _
___________
L_
_ _ _
32Thirtysecond
Notes
V
16 Sixteenth-
a,
Eighth-Notes
l:
Quarter-Notes
wh
Half-Notes
CONTAINS
lo
e
WHOLE Nora
4.
l.
:
CQ
0112:::::=
DE
GF
l. 2
_ ____
_.
TREBLE or G clef usually employed for Right Hand
__'
L).
__
._
Spaces
w'lr
."L
E il
:n
"a
a:
Lines
Staff
38
=
_
Leger-lines
Thin. y' second

Slxtyfourth
DOTTED NOTES
Value
Dot after Rest
Two Dots
'
etc.
Value
dot always
or rest.
increases, by one hay; the value of whatever precedes it, whether it be a note,
yA
dot
ACCIDENTALS, or CHROMATIC SIGNS
Flat
Sharp
Natural
1
C
T
l]
*l*
l
C sharp
D flat
C natural
A sharp
raises the pitch of a. printed note a alf step;
A flat
lowers the pitch of a. printed note a. )1an step;
A natural
restores a note to its original pitch, after
or x) or a double flat (hiv) indicates a
A double sharp
Names of the notes
JI
Csharp Dshnrp
l
il l
with Sharps
1
l
l
1
ll
El
I
l
l
l
D natural
literally, playl next key above.

literally, play next key below.
it has been sharped or flatted.
w/lole step above, or below, printed note.
of the notes with flats1
Names
DI
1
l
l'
ll
ll
l
ILL I
b4
l
l 1
L
V
Asharp Bsharp Csharp Cflat Dflat
Esharp Fsharp Gsharp
l]Il
l
l
l
l
L
l
L
l
l
.
l
Gflat
Eflat
Bflat Cfln'v
/
CHROMATIC
"_T
1
' '1
i
1
Csharp D Dsharp E F Fsharp
(ik) ENHARMONIG
A
l
G Gsharp A Asharp B
l
l"
l
v
.
l
|
Aflat G Gflat F E Eilat D Dilat
(the two possible ways of writing notes to be played upon the same key)
l. lll
.Il llI
Il_Ll
Black keys
C, B sharp
White keys
From one -key to the very next key is a half step, (often called semi-tone.)
Twice this distance is a. whole step;<from one key to the .2nd key aove or below.)
KEY SIGNATURES WITH TONIC TRIADS
Cmnjor Aminor Gmajor
Fmajor
Dminor
) These notes
2 735 -60
are
Eminor
Blzmajor
Dmajor
Gminor
/[
Bminor
Einmnjor
fied
Amajor
Cminor
Filmnor
Emnjor
Alamajor
Cminor
Fminor
Bmajor
G# minor
major
Blminor
RHYTHLI
SIMPLE
COMPOUND
(TRIPLE RHYTHM)
SIMPLE
COMPOUND
The figures standing at the beginning of a composition, after the clefs and key signature,a.re called
The upper figure denotes the number of counts in a measure, the lower figure
the Time Signature.
the value of the note that
quarter note.
fills
each count.
HOLD
e. g.
.means
counts, each count the value
of
fh
or PAUSE
indicates that whatever stands under, or over it, is held
of the note Or rest.
value
RHYTHM is
recurrence of accents, thus establishing a sense ofregular pulsation
a regular
in
the flow of the musical thought or expression.
TIME
is the subdivision of the measures into counts, or beats, of equal length. To keep time
count aloud, carefully spacing the words,or counts, an equal distance apart.
no strong impression or sense to the ear, no matter how perfectly
Time without rhythm conveys
are observed.
the length of the notes or counts

and accents, and this
is
is special
natural
accent,
emphasisl
a.
given
to certain tones in playing.
and arhfz'oz'al.
Natural accent falls upon the is! and

(and
where
3f.d
rhythm), the and 4@ counts in
it
fall
would logically
all exercises for the
development
of the
composition.
counts in
_g-
ACCENT
The whole structure of'musilc is builtuponrhythm
as necessary in the practising of
fingers as it is in the performance of
):
There
areitwo kinds
rhythm, the iflt count in
rhythm, and in compound
of
ordinary rhythm,
rhythms upon the notes
in the simple measures, or rhythms,
from
which
compound
rhythms are derived.
Artificial
tural accent
accent is special
and
requires
upon tones
emphasis
a special
sign
other than-those
placed over or under
longer than the original value. This is a matter of taste but it should beheld at least twice the
which
call for
na,
note to indicate that it
is to receive this accent.

The signs of artificial
(explosive) accens,
and
the tone is not held quite

3:73560
accent are: >
(ordinary accent),
pressure accent.
The sign
the full value of the note
A, v, sf,
sfz, or
fz, very strong
indicates apressure accent in which
(non legato).
nected effect in playing
full
is imparting the
LEGATO
a succession
the next tone begins,
A SLUR
value to each note (or tone) thus producing a smooth,con
without the slightest
is
a.
slur
first
ends on the
note
notes.
under it are played legato, though
Itis
pri
it has further signifi
of a group, count or measure, that note is usually shortened
Tied notes, dotted notes
lieta? value.
A SHORT SLUR
Occurs
half of its value constituting
.WQ-me.-
'L
p-
IK
If the
and receives only one
EXAMPLES
Executed.F+pi$cp*~jLq
L
'
softly
ETEE
are an' exception to
rest, or silence.
>
half notes
and
l
I
note receives
the other
L 4l
> >
last note of the slur has a dot over it, the note is to be very short;
first
half its printed value,
l
i
in
this rule.
over two notes of different name and pitch. The
an accent and the second is played

them.
in marking the phrasing of a composition.
cance
a
break or detaching between
curved line extending over two or more
marily an indication that all the notes
If
In other words each tone is to be sustained
of tones.
approximately
one
quarter of its printed value.
A TIE
/\
is a curved line connecting two consecutive notes, of the same name andpitch,
into one continuous tone, the
If
of ot/z notes.
first
note
being played and the key held down through the full value
either of the two notes has a dot over it the sign is a slur, not atie, and both notes
are played.
REPEAT MARKS
from the beginning; ex.
Two dots standing before

But,
if this
a double
er than
or
I_l
IEE
is preceded by another double bar with dots qfter it, the re
petition begins from this point instead of the beginning;
8T
bar indicate a repetition of the composition
ex.
placed over notes indicates that these notes are to be played an octave high
they are written.
'Sr-l bassa placed under the staff indicates that the notes over it are to be played an octave lower.
0072
8. indicates that an octave is to
printed note and the

4-735-60
little finger
be played instead Ofa single note; the thumb playing
(simultaneously)
its octave.
the
, Ba
, or D.
al Fine, placed
C.
D.
at the end
ofa composition or
qndicates that
movement,
the player should go back to the beginning and play the composition through again to the word
Bal
placed over a double bar, both of which indicate the close or finish.
Segno
return to the sign
means
as indicated by the word
Fine
and play through tothe end of the compo
or the sign
over
a double bar.
D; S., or
sition
or the sign
Fine,
over or undei it.

`
group of three notes with an italic (or slanzfnggfigure
figure
the
is in triplets,
slight accent.
or
If an
Ex.
notes.
similar
are played in the value of
and
or
In playing triplets the first note should receive
are played
entire movement,or passage,
is sometimes written over the first measure groups only, it being under
artificial grouping. There are other_forms of arti~

V
V
etc. the performance of which is
V,
V
V
V,
ficial grouping,
comes under the head of
writing
V
V
This form
o_f
stood thereby that the following groups are triplets.
generally obvious.
MARKS USED TO INDICATE DEGREES OF FORCE

soft
P-(pz'ano)
(')
PP-
(pz'anzlsemo)
extremely
louder than , softer than >mf-
soft-_ mf-
(meqforte)
`f-'lfforlw loud
moderately loud
ff- (forft'su'mo)
tremely loud.
ex
<
>
SIGNS FOR VARYING EFFECTS OF THE ABOVE MARKS

Crescendo
(msc.)
Diminuendo
in the value of
J,
case the three notes are played in the value of two

nl
In such
is
TRIPLET
TRIPLETS
Swell, or
For further
(dim.)
combined
instruction
Grade Section of
5-735-60
gradually increase the force;

gradually decrease
msc.
and
by this
the force; also indicated by
sign:
this sign:
dim., is indicated thus:
in signs and marks
the book.
also indicated
of speed etc. study the table given at the end of
09-98L-9
CONTRA
GROUP
GREAT
GROUP
SMALL
manner
of
g
GROUP
...
.
marking
.1b-___
of
notes
key,
called
and
OGTAVE
in
'
each
44
LINED
LINED
GROUP
TWO
if
LINED
GROUP
THREE
KEYS
group
subdivision
octaves)
the
PIANOFORTE
names
(sometimes
White
GROUP
ONE
each
groups.
for
desired
of
LINED
GROUP
FOUR
__
GROUP
KEYs
the
into
notation
7l/3
CONTRA
44
show
keyboard
staff
MODERN
letters
the
the
OF
37
SUB~
The
Showing
KEYBOARD
THE
POSITION AT THE PIANOFORTE

The player should sit upon a chair (preferably) or stool,
horizontal line with the tops of the white

front line of the body. The,wrist should
The elbows should be a
keys.
be
high enough to bring the elbows on a
trifle
lower than the knuckles
in fro-nt of the
and
fingers
the
curved so that they strike upon the cushion at the end of each finger; the palm of the hand
slightly arched. The knuckles will then be slzgtly raised; they should never be depressed, nor
should they be pushed or forced up to an awkward or pronounced elevation in playing the fingers.
The fingers
lzft from
should
knuckle
joint,
and play with a quick, easy stroke, moving on
the knuckle, without any assistance from the hand or arm.

The muscles of the arm should be supple,(as should the wrist) but always supported,
A
allowed to drag or pull upon the keys.

(or non playing)
The unoccupied
etant
it releases
lifted
up
into the position of the other fingers the in
this occurring as a new key is struck by another finger, or at a rest.
a key,
Never stiffen or strain the muscles,
full control,
and do not attempt
in easy, free motions at a. moderate
ly piano or pianissimo
at
These
'
the early stages of development.
perative throughout
of more advanced playing, but are im
are modified in many cases by the requirements
conditions
der
should be kept lifted while any one finger is holding
fingers
and that finger should be immediately
a key,
and never
force or power until the fingers are
degree
un#
of force, even though the tone is on
first.
THE USE OF TREBLE AND BASS CLEFS

The editor can not agree with those methods
Clef is
delayed.
Common
sense would seem to dictate the association
left hand from the very beginning of study,
tion of the lower,
or instruction books in which the use of the Bass
clef
as this
predominates
bove
is necessary
it is
hand.
difficult task to
result of this.
difficult
Both exceptions
in all music for the nota
to the rule, as is the use of the Bass
the
left
hand starts
change later to the Bass Clef,
association,
than it is to learn,
and
substituting
and practise,
the
playing from Treble Clef notation
and the pupil is puzzled and confused as
In such instances it is unlearning something

and
principle stated a
occur frequently, but the fundamental
If
to avoid confusion.
mind, by practice
the
or left hand staff.
The use of the Treble Clef in the left hand is an exception
Clef for the right
of the Bass Clef with
which has become
a new method
fixed in
of reading. This is
the
much more
Bass Clef from the very first.
NOTE-WRITING PRACTICE
The pupil should procure a music
ing notes and rests
seven
of different
values,
letters of the musical alphabet in
er note under each letter,
This writing practise

and
blank book and spend
their values.
7-735-60
both on the
is invaluable
with the names

every
staff
written
conceivable
and
considerable time each day
on leger
over them.
writ
Also write the
order and then place the prop
lines
for becoming thoroughly
above
and below.
familiar
with the notes
EXERCISES FOR FINGER DEVELOPMENT AND CONTROL

Practise very slowly and strictly observe the correct and precise motions of the fingers. Bc sure that
are kept curved at all times, never allow them to straighten out 'or curl in when they lift.
the fingers
Iasiazm2
Rzgr/ll ]
Lgf! Hwa'
Count four
The fingers
are numbered
i2
4 5, the thumb
2345432
is 1 and the little finger is 5.
Rzgt Hand
The pupil should write the correct fingering over the notes in following
of the notes and the proper keys.
exercises,but
first learn the
names
Lef:
Hand
_I
435-60
1
I
L
1
11
In'
11
11
LI
1
'L
I'.
if
I1
11
I'.
JIII'
11
I
1
1
1
lL
I.,
Ir'
II
11
Il,
Ir'
11
Il
n
F
L
I
f.
I
In
11
11
11
I
1W
II
Il
'_
I'
1
1
I'
In
11
11
II
I
1
[
II
{411
II'
II
IL
1
llI;
l
I
11
I
1
Ir'n
11
11
1
I
1 In
II'
I
I}
1
1
1
1
1
I'
I
I
/\
LEGER LINES BELOW THE STAFF
The following
but this is necessary, to ensure correct reading
LA
im#
q_ul
Sil~t
a--.
_LL
Ina
GII
it...
--
rnd-_d
ih.-.
si
_-_
--_
IL__
~r
c__
1T.
-
tL.
c_t
da-
d~
pages present considerable apparent repetitions
GI
in the general character of the exercises,
and the thorough adjustment
of the fingers to the keys,be
fore going on to the more difficult part of the grade.
Practise with each hand alone, then together, slowly and with careful attention to lifting and
the fingers
in the proper manner.
Count aloud,
9~735'60
il
..
di
'OU
___
__J
l
___
l)
l
|
Hl-_
--
'
LIT
HH~e
l
i
_n_n
l)
4l
1
l
i , i
d..
_u_
_1
1
i
-..
__a
'
11
__
for the right hand.
equal counts to each measure.
Write the fingering.
striking
10
Write the proper fingering
M0derat0(a a
10-735-60
moderae
17
speed)
11
Moderato
11-78560
3
23
Moderato
34
3
4
5
4
12
Moderato
Write in the correct fingering. Notice the dotted notes and use of the tie.
'
Moderato
3
Allegreno ranghi@ am' casema/y,- : /)

5
.Olallne
Study definition
2- 735 ~60
for D.
0C
al Fine
al
Fin@
FINGER EXERCISES IN
Simple transposition;
8".11
NOTES
play the left hand an octave lower using fingering
Repeat each passage 8 times very slowly observing

1 3
13
under notes.
rule for finger action.
30
31
42
Observe rule for accenting triplets. The slanting
figul'e
3 denotes
triplets, not fingering.
EXERCISES FOR ELEMENTARY HARMONY _AND ARPEGGIOS
31
(Also for the study of triplets)

,4
To make all the fingers of both hands of equal strength and independence, practice the above exercises
with each hand alone and then with both together, continually;being careful that the touch is not constrained
in any way. Particularly see that the hands are held well over the keys, that the fingers act promptly both
in
striking and lifting.
1373560
14
LITTLE PIECES EOE INDEPENDENCE BETWEEN THE HANDS
Moderato
34
14-73560
LEGER LINES ABOVE THE STAFF

1
av
0-
1
1
1
1
A
|"|1"|'
'fr :i :ifi
. ,E
I
I
fff'f
(IN THE BASS CLEF)

m
00
.CL
II
l
l
2
I
lI
I
if@
5
21424
LEGER LINES BELOW THE STAFF
IIlIIll
4ALTYI I
Ii
1 1
111111111
FIVE LITTLE RECREATIONS IN NOTE VALUES

Allegro moderato
39
Allegro moderato
Allegretto
'735
-60
(moderately fast)
C. FREDRIC
16
Alle gretto
Allegretto
43
Answering Voices
Write the
fingering
Little Canon
'
Canon
is the imitation (or reproduction)
other hand.
12
one hand,
45
(Whole Rest)
Imitation
16-735-60
of what haspreviously
been played 1$11
'
Moderato
47
Moderato
Note the use of the tie
Alle
49
17-735'60
tto
Mornmg Recreatlon
frite fingering for all the notes
(
The Daily Round
48
Song ofthe Toiler
2/-\
17
Trill
Slow
18
for rhythmic practise and
Exercises
the development of
facility
in
E--.
tu
.
*_1-_
n-.
I
122
L.
11
_
_;_H
v_-l
@__
p__
L_
.-
*ir-Fl
'LII
.___L
each measure
equal counts
:_T
Count
11
_El.
i;
s_.
The following exercises should be practised with both hands together after they are well learned sep
arately. Play slowly, with accurate lift and stroke of the fingers, keeping them curved at all times.
Count 4 equal counts ln each measure
Practise and learn but oue exercise at atime; do not try several at once.
Practise Nos. 54 to 58, inclusive, while practising the above exercises

and 21151grades
Continue> the practise of these exercises throughout the 115.
1873560
Il il
19
Theme and Variations

Allegro moderato
1231234234
31
3421
23
54
. E. MLLER
5435
213
24
3m
245
56
54
Illustrating the
5
use of the tie

4
32
13
and dotted notes

5
58
Notice
19735-60
2
SLI*
2m 5^
Maypole Dance
Alle gretto
rests
5313
4'
zo
Plaintive Mood
C. FREDRIC
Moderato
59
Moderato
Moderato
Little
SOng
Country Song '
. FREDRIC
.61
A Merry Roundelay
Allegretto
(Bmg/It and /)
62
legato
FINGER EXERCISES 'IN 8th NOTES

i
Count four, two 8th notes
to each count
63
54
20-
7235-60
FREDRIC
LEGER LINES ABOVE THE TREBLE STAFF
21
Learn the names of these notes, their location upon the keyboard and the name of theK^y-group
or Octavel (see diagram of keyboard) before proceeding to the following pages. This is imperativo,
in order to recognize the notes, and find them upon the keyboard, without halting or puzzling over
them when learning the following exercises and pieces.
64
Rig/zt Hand Name the notes aloud at first

'
-9
1
P 1Q#
19
F I 9
l
1 11
l 1 I
1
LLI
.
1 l
11
I
I I
I
UL
I
I
1
I
I
1
1
I
.LI
'll
.
1
1
g
:
1
.9.
::
..
.
1
l
l
.
:a
.
.
.a
_
_ *_
1
I
.
l
l
l
.
9- .9
~:
:a
_
._
._ .E
._
l
I
.
1
I
l
.
.2 .
._.
I
1 I
It.' !
~+1
f-
l
L
Fl
,_.
1
g..l
et.TI
l
'i'
i 1
if
I
ifi-Ff
4i
|
-s
-e
: 1
.1
l.
l.
/_\
Observe rests and signs for swell, also notation
Allegretto
65
(s
Allegro moderato
mf (moder
ely lo
/\
b)
.
.
11
I
r-I
il
4'-
11
I
.'
:9:: il
1
9.1:
l
1
I
I
I
I
_.
.f f
::.:
.:
._. __
g :2 I
l
I
I
''1
Clef for left
. FREDRIC
hand.
i*
0
C
March
C. FREDRIC
fast)
/_\
Accent
iS and
ABCDEDCB
3115 counts
for F clef?
of each measure.
./..\
s_.l :if:
Compare the notes in the G clef, with those in the

What is the other name for Gclef;
21-735-6
1
:I
l.
:raffl
II
(moderate/y
Notice crescendo sign.
6.6
::1_1_
Il
1
1
/`
ly
Write the proper fingering.
66
in Treble
1 1
1:
Graceful Dance
Il I
._
..11
t
._::':
:
.__ ._._._._
1
. I
'
,2.
1tz:
E:I
'
l-
pf-.t
FI
I
E
1
112152:
I
l 1 I
11 I
I
1
1
:t
9:91:
f
I
TF
2:
.L_:t
_1! ._
._ ._._,e_
gm
1
1
f
:
il.;
'-
l
1
0I
.I
l.
1:.: 1:.91 .
f..
I
I
I
I
:I
.
EI
'
-
f-
ABCDCBA
.
Fclef, which
__.-.
are played onthe same keys.
22
Three Little Duets
Teachers
Part
(Two players,
Andante
67
dolce
68
Andante
22-735~60
(21151,
Alle grotto
egato
hands)
Secondo
or lower part)
F.
BEYER
Three Little Duets

(TWO players,
Pup1s Part
Andante
67
68
Andante
23-785-60
(Slow)
Alle gretto
4
(iB_t, or upper part)
/\.
Primo
23
hands)
/-\2
F. BEYER
am /d
24
Repeat
Prlactise
24-'735-60
4
Finger Exercises.
each passage
slowly, payin
20 times
strict attention to the fingers
Continue practising these exercises

4
daily
3
'70
2
2
25
Round We Go
/`
Rereahon
Study in dotted notes
All_egro moderato
72
(moderaelg
T\
dolce (sweetly)
mf
A Lime Waltz
Allegretto.
3
V
73
gram'oso
Study the signs of force and _accent
25-735-60
very carefully.
F.BEYER
fast)
26
EXERcIsEs
Eon EXTENDING THE HAND
beyond the five finger position
RH
J!
JI
Ul
n.
.55_55
74
Continue practising the above exercises throughout the First Grade.

Keep the fingers curved and avoid straining or motions of any sort with the hand or arm.
easy, flexible muscles and do not stiffen the knuckles.
i
ercises to other keys.
75
26-735-60
05
dolce
Play with
Later on, in the Second Grade, transpose these ex
The Whistling Farmer Boy
F.BEYER
m
27
Agile Fingers
Notice and study the Sharps and naturals
_ Moderato
76
mf
legato
before beginning to practice.
'l 2
EXERCISES FOR CROSSING FINGER OVER AND THUMB UNDER

Retain the curved position of fingers. Do not turn the wrist, nor push
Practice daily until thoroughly mastered.

60
27 73
up
with the knuckles.
28
Little Dialogue
HEINRICH 'OHLFAHR-T
Moderato
*I
78
mf
'
(sing-ing, sustained
1 4
Key of F major, one

c
flat
1 5
(sharp
F)
..
mf
5
for at the beginning of each brace to indicate that every inthe

is
must be flatted. This is called thekey signature, and saves printing flats throughout the piece.
E The sign
placed on the line
piece
EXERCISES FOR REPEATING NOTES WITH SAME FINGER

also for practise
in holding one key while playing others
Practice very slowly, without forcing the tone, keeping the fingers close to the keys. The fingers must
not lift high,or strike, they must move easily on the knuckles and gently take hold of each repeated key.
The hand must be held quiet but without stiffness or straining.
Do not push or bear Weight on held keys; the finger must simply rest easily on the keys to steadythehand.
Round Dance
Allegretto
legato
P/-\
L,
Write the proper fingering.
C.
29
FREDRIC
Watch the Sharps and study them.
D. C; al '
21.
EXERCISE IN DOUBLE NOTES

53
53
53
LIZ
Be sure that the double

29 -735-60
release
thumb
4 le
Fine
notes are played exactly together with careful, precise lift and stroke of the fingers.
30
STUDY IN DOUBLE NOTES

and changing fingers on same key
Comodo (al a
2
1/
couvenz'enl
speed)
olee
1
2
4
Both hands must avoid jumping or pumping motions.
f/`
/`P/` /`
dolce
This study is in G major (one sharp.) The sharp sign at beginning each brace indicates that every
the study is to be sharped. (See introductory remarks on Sharps, flats etc.)
Theme
30 -735
-60
in
'
Do not jump the hand on repeated notes
Moderato
A, EHMANT
31
'
EXERCISES FOR MOVING THE HAND
along the keyboard by using same fingering on different notes

Keep the hand quiet. Do not move the wrist or arm in the slightest
down
degree as regards pumping,or up and
motions.
4 3
Practise
also with ISI, 2nd and 3131,4 and 51.11fingers.
43
43
54354325
23
23423
2
Practise both fingerings
3i -735-60
32
STUDY IN LITTLE RUNS

EXERCISE
PREPARATORY
:
:-
'
Moderato
Sharp every
Notice the use of the Treble Clef
F and
C.
Simple Stor-y
for reading practise in left hand.
J. ASCHER
5/
The literal meaning of Andante is going2 or moving.

32-735-60
`
1121
5\_/
2
if and
l1.
Observe the accidentals
/3
12
5,
23112
5.
(in simple manner)
semplice
1
2
86
'3\
over.
'_
Andante (rat/ler slowly)
i#
major. (2 Sharps)
A
*l*
. .
'
am
23
,l
Key of
'
'
"
'.
R.
Refer to previous exercises for passing thumb under and fingers
21
\_"___5/
Fine.
85
513
Allegretto
4124553
Morning Song
F. BEYER
87
Key of
to
major. Flat B every time it appears in the piece.
By placing dots after each half and quarter note this piece would be in
33
12
-735-60
g (compound)
rhythm.
34
STUDY
For finger quality
Notice the use of Treble Clef for reading practise in L.H., also change to Bass Clef to indicate the same keys
Allegretto
5
88
legato
By placing dots after each
Mode
89
STUDY
and 1 the rhythm could be changed to
to
:i
sz'mz'le
(Me same
z 5
_uf legato
The first note of each tripletta held through the group.

34-785-60
(compound) rhythm.
.:
35
EXERCISES IN DOUBLE NOTES

Hold the hand in position. keeping the fingers curved and firm. Play with a pressure at first, later with
of the arm I up for the rests, down for the notes.)
When under complete control in these two ways practise with wrist action, lifting the hand from the wrist
for the rest, bringing it down (moving from the wrist) for the notes, always hold the hand and fingers in
the same shape when moving on the wrist; do not stiffen or strain the muscles, keep them always
free
and flexible. Never throw the hand up, or down against the keys, and never assist with the arm; keep it quiet
and poised (supported).
.
4
2
4
2
90
LII.'
Thoroughly
35-735-60
learn each repeated section, in above
exercises, before proceeding to the next.
CL
RII
aA slight motion
36
Country Dance
A Study for easy shifting of hand to different keyboard position
and practise in double notes
The last note under each slur should be shortened in value
Allegro moderato
343
93
4?
Allegretto
-735 -60
mf
5
1
s
.
a
3
1
Study in Double Notes
.
3
1
5
.
._4
Key of G; one sharp

37
Staccato (dots over notes) see page
36
y"
37
Staccato
Staccato is shortening the value of the note by releasing the key before the full value has expired;
this is done in single tones by simply releasing the key with the finger.
In double notes the keys are released by lifting the hand easily and gracefully from the wrist.
In a. continuous succession of staccato notes play from thewrist, lifting the hand for the silence
(or rest) and bringing it down with a quick easy movement for the keys; hold the fingers and hand in
of staccato notes liftthe
shape and do not lift or strike with the fingers. In continuous successions
hand before playing the first note to gain equality and precision in the motions.
Staccato is indicated by dots placed over, or under, the notes, or by the word staccato.
The dot over a note reduces its held value one half.
Played
Written
Played
A I
__'
EXAMPLE: 53;-
_ _ _ _i-
staecatzlssz'mo.
There is another form called portamento, written with both dots and slurs over the notes. This reduces
the held value ofthe notes one quarter, sometimes less in slow tempos.
Portamento is a pressure touch, the keys are pressed down and released in an easy graceful manner.
This touch calls for special illustration and training by the teacher. It is essentially smooth in charac
ter,and nice quality of tone is the thing to be most sought for.
_
Writ/en _
played
EXAMPLE:;=:===
Q]
'
Slow or widely detached single staccato notes are played with a pressure and released easilyand grace
fully. They must never be struck or played with a hard touch.
JEL/il
`_.
l-l-l
1_' -l
I' I'
.-..-.-.
-..r-
.--|'
Lrg-I
-l :ll'.
.-'l
Special accompaniment exercises for Left Hand.

- . .
.
96
1_7'
TRIADS
52
.Il>
52
. .JE
'__-_
52
.Ir-_
53
52
a 5
(Three tone chords)
These are played according to first instructions for double notes; hold the hand and fingers in shape,
and firm. Do not practise these until previous exercises are mastered._
_ _
5
53
53
ARPEGGIOS
Write
4
5
(The tones
ofthe
_ 4 5
a
5
chord played in separate

_, 4 5
succession.)
3:1
97
fi
The fingers must lift high and strike with quickness and precision. Do not push the keys, or use the
hand or arm to assist the fingers. Be sure that each finger lifts quickly to up position the instant
strz'h'es at its key.
tgl;
A sharp point or dash over a note reduces the held value three quarters, and is called
W'rz'tten
Played
1
pzrt 6f(,i)nger
38
LITTLE PIECES
TWO
For
the Study of Phrasing and Staccato
In the Garden
Moderato con grazia (moderately grace)
>
>
3
>/\.
3
5
(slowly)
Lento
Study the slurs
2 4
Dance ofthe Clowns
notes
0h#
last note of slur according to rules for releasing staccato
Release
"if
1
3
39
Happy Hours
For Staccato
Allegretto
53
'53
>
2*
.\_/'
5/\
(hold bass notes)

5
TWO
L.H.chords
531
2.
>
"if
101
Little Voices
HEINRICH V'OHLFAHRT
Moderat
1
"if
5324123
89-'735-60
L_...r-
__
12
'IPN
(what key is this?)
"'f
102
and Changing Keyboard Position in
121
40
Little
#c
*t
(what key is this?)

Study the accidentels before practising the piece
40
-735-60
1
5121512
31
41
S o ng
For Study of Phrasing(S1urs)
Andante con moto

CARL REI NECKE
1^
108
4
a tempo
213
l
3
41
Song ofthe Hussars

For Practise in changing fingers
Staccato playing
21'_\.1
.
3
l
_
~.
104
2
5
>^=
1
2
4
iA.
5
4
4
_
>,`
'
>
EXERCISES IN INTERVAL PLAYING

32435
425
425
.3
31131"i
31
2 1
Vo.:
53
43434
1
[fand
41-785-60
Lqff and
1425
105
in
Marziale
1
on same key
4251
313
13
.i
42
STUDY
106
135
5
4
531
l42-735-60
3531
24
313542
25
53
41
2
4
1
53
2
legato
53423142 53423142
1
2
53
135
42
14
31
534
42
53
531
24
107
5
4
42
42
43
The Sweet Violet

LLI AM
108
(Play j?.
/dfi
43 73560
[L
87111 on
SM AL LWO 0D
Allegretto
"if
repeat)
al Fine
0.
44
Swing Song
A. EHMANT
Con moto
109
Strictly
smv
5
observe the rests and note values
~12
12
1
5
In slurs ending on ist and 4th counts the last note is shortened unless it is a dotted note.
41736 -60
In
Allegro grazioso
110
45-736 -60
45
the Month
of May
For Reading the Higher Bass
/\
Notes
FRANZ
/T`\
ril/1rd.
BEHR
>
46
For Independence and Speed
Continue
343
Allegretto
d'1
112
16'73560
Allegretto
moderato
f,
_
Study
practising for speed
mf
>_
2345
Children@
'
4
47
The Kuokoo
Staccato Study
Allegrett
113
(In what key is this piece written?)
.l
i*
551
Finne
EMIL BRESLAUER
"if
54
(short slur
ril/1rd.
. S
_
_5
I
D.
Skipping Rope Dance

Allegretto
3
dolce
/'\
scherzando
(brag/t and ' a
playful, sportive style)
f.
al Fine
48
The Juggler
For Skill in Changing Keyboard Position
Continue practising until speed is acquired
Allegro moderato
i
,2345.
/T
"'f
115
Observe slurs; remember what effect the staccato

exact value indicated in first part of book.
Stu dy
Practise for speed
Allegro
if
/`
note has at end of slur and give the note the
Notice Change of Clefs in
L.H.
(fast)
"if
116
Key of A minor
.
dz'm.
Fz'ue
(crescendo) Increasing in strength

(diminuendo) Decreasing in strength
35
.f
Key of C major
518-785
60
D. 0.
al Fine
49
EXERCISES IN MOVING LEGATO DOUBLE NOTES (THIRDS)

5
3
5:
4
2
z?
5
8
117
Play the notes exactly together
'
If
5
3
one of the notes is repeated in the nextThird the finger must be released just before it is time to play
EXAMPLE
3
1
.5
5
3
1
118
played
wm'ffen
.
5
.s
'
wn'fen
.
}
'
played
iis
Practise continually until

point
is thoroughly mastered; it is the basis
of all legato playing in double notes.
Mod
STUDIES
tO
119.z
The pupil must
be careful
[/
119.
49 -735-60
to strike the two notes of the thirds precisely together and play strictly legato.
'
1/\5
50
Moderato
Moderato
STUDY
Practise very slowly and carefully
Moderato
4
/\
122
-2
4
Avoid straining or hand assistance
\_/
Continue practising this study until control and skill are attained
50-735-60
E 105
51
GRACE NOTES
nere are two kinds of grace notes, the short grace note, or aociaccatura, and the long grace note,0r ap
poggiatura.
The grace note is
Short grace notes
are written without
Long grace notes
indicated by a. very small note.

have an oblique dash throught the tail of the note stem, whereas long grace
this dash.
are generally given their face value.
Short grace notes are quickly crushed into the following note.
Short grace note.
Long grace note.

>
'
played
Figure out these values and apply
them hereafter
`
vAllegro grazioso
1.344
when
played
>f`
grace notes occur.
Polka
.. ":\
(fasfendgv-aee/hlly)
~
\?.2>\
. FREDRIC
Fine
Lf mamalo (well
Key of D major (2 sharps)
no
4
'il
A11
al
Dutch Dance
.
/"
124
51-735-60
D.
>
played thus:
EXAMPLES
notes
12
al Fine
34
52-735-60
.
08
52
The Practise of the Scale

b d nur
.132
53
MAJOR AND MINOR SCALES

Arranged in the order of key circle progression
Practise very slowly
C maior
0 dur
C minor
C' moll
G major
firstland
for the comparison of Major
do not
E major Edur
Harmonic Form
E minor
E moll
major
11
G minor
G moll
B minor
]!
D major
D dur
F major
qur.
minor
moll
www
13
minor
mnu
dur
Bl major
Ba'm
millor
moll
Bl? minOI'
moll
53'735-60
^_,\
A major
.~^_"\
and can be played
and
and Minor
of same name.
try a new scale until the old one is thoroughly learned

with fluency and sureness. Continue daily practice of scales through this entire volume.
(hands separate at
54
El major Es dm'
Dl major
dur.
21
Eb minor
mall
C# minor
Us moll
F# major
Fis dur
22
maJor.
s dur
Scale of Gb, six flats, 15 played uponthe same

keys as F# major.
minor As moll
F# minor
FI'S moll
24
Besides the preceding Minor Scales the two

following kinds are used.
54
Melodic M1101'
5
-735-60
Mixed minor (Seldom
except for practise)
SUCCESSION OF ALL THE KEYS AND THEIR RELATIONSHIP

G maior E minor .
A minor
A moll
C major
6' dur
@_i
Emoll
a'ur
A major
B minor
l! mall
II
I-
11
D maior
dur
11
C
F# minor
Fis
E major C# minor
Edur
(lis moll
moll
Il
Y;
..
'
These are the Tonic (key nnte) Chords, built on the degree of the Scale
maj
[I dur
'..nnIft-
o# min
Gis moll
E# maj
Ai ma;
A:
E maj
maj
dm-
G min
moll
'
-!
nl-'ll_i-l-Dl
|`=ll
EL maj min"
Es dur 6' moll
: mln
maj
01's moll Aix md!
D# min
Fis dur is moll
E min
F moll
ma; min
bes dur 1? moll
L
Gl maj El min
Ges
dur Es moll
maj
Ces dur
.Y|
Al min
,4s moll
'
Scales having some key signature belong to the same tonal family, so to speak, and are therefore related.
A minor is the relative minor of C major, but it is not the Scale of C minor. C major is the relative major
of A minor etc. Gradually learn these relations, but do not start too soon.Learn the"key note" scales first
`
beyond a possibility of a doubt.
Practise very slurry
128
55 -735
60
STUDY
56
STUDIES IN SCALE AND ARPEGGIO PASSAGES
Change
these studies to G major, name and think the notes in that keybefore
`
This is called transposition.

Repeat
practising.
Also to D major.'
6 times
31
1294
/`
129. f
130
mf
l
l
56-7341304/
Notice changeo!` clef for same position

4
The Brook
Allegretto
Moderato
5
57-735-80
f4
M azurka
l
1
Allegro Vivace
f-
3
5`
f-
3
2.
j"
1.
czERNY
131
Waltz
58
58
Peasants Polka
Allegro vivace (fast with
i?
134
73560
s?.
.
/
\
Moderato
.
.
viz'acz'ty)
_.
(
.
con vivacidad)
4
l
3
[ 133
/_\
Russian Folk Song
W>>
2.
4.
S 171
59-735-60
41)Observe
011-.
Play this ending 155time Play this ending 011repeat

1. omit on repeat
the difference in notation
of
183 measure
(L.H.) Both
have the same effect when

|
||
31
_T*
Clown and Pantaloon

59
Allegro
WALTZ
F. BEYER
\_/
played.
60
Moderato
Allegro vivace
137
60
-735-60
?
23
Introducing stretches in double note playing.
Minuett from Don Juan
.
1
5
3
>
>
/.5I
l
3
A. MOZART
Wd' d0]
diminuendo
cresce do
SCALES AND ' STACCATO

3
LA PRIMERA LECCION DE PIANO
FIRST PIANO LESSON

COPIA DE LA PINTURA POR J. A. ML'ENIER
61
SECOND GRADE STUDIES

KOHLER,
Allegro comodo
(I
(2)
Sempre
l'11000 07'680.
op.157,
NQ 3
(5 i
07880.
3
<
<>
Practise slowly, with a firm even touch, at first.

low original key.
7 36 -24
<>
Eventually transpose to the neighboring major keys above and be
62
Moderato
_
2
Slowly, with precise finger stroke and lift, at first. Later transpose to D, E, A and easier keys.
- 736-24
5_
5
DmeR-NOY,
'
011.176, NQ 4
'
Allegro
Allegro
LEMOINE,
op.a'7,
LEMOINE op.
Na I
63
37, NQ 2
Studies Nos.3and 4
These two studies may be combined and played as one, by adding 0.6'. al Fine. Transpose to D,E,F,B,A and G
noting change in fingering; B maj. LH, F maj. RH., and reason therefor.
Sugg
3-736-24
II7
4-'736
24
32
.132
Play through twice before going to Coda.

3
L'
5.'
D.
Coda
'L'S0.
dz'm.
Piu lento
rden.
Later transpose to
and
using
same fingering.
al
e
arq/lamme
-3'
Allegro moderato
64
BUHGMULLER,opAc0,N921
5
(
p01'
l Coda
Moderato (grad
- lo
KHLER,
0p,50,
3
6 8:7
65
N9 9
be played as one continuous
study)
2
4
KHLER,
op. 50, N9 1o
12
5
The upper fingering is stronger

736 -24
for forte playing, and affords excellent practise.
4 2
Practise both ways
1)
66
Allegretto animato
1
6 786
-24
T
raramente
._
Observe previous
CONCONE, Op. 24,NQ 24
_.
/\
Vse gu e
simile
suggestions
II-n
Allegretto
4^2
Allegro comodo
7-736
-24
4
DUVERNOY,
Op.176,NQ
67
23
\2
0. ! .Fine
DUVERNOY, 0p.176, N913
68
Allegro moderato
Prnctise
4^
>
5/\`
8-786 -24
(increase lo
hands separate at first
]!
Allegro moderato (gradually
1
5
increase lo Allegro)
KHLER 09157
/,__\
D.
DUvERNoY, op. 17am
NQ
/-_\
11
al Ene
9
Allegro moderato
f
5
Slowly, with firm finger touch, until thoroughly
736 -24
/,__`\
LEMOIE,op.
31234
/\
5 '
learned, then increase
speed.
Later uunspose
37,1@ 8
7o
Moderato
1
10-736-24
/_\5
LEMOINE, op.37,
>
>
>
.
1
3
N9 10
2
14
Allegro moderato
use fingers precisely and accurately in the contractions

Watch hand position
and
`
11-~36218>
a)
LEMOINELW
D.
N9 20
71
15
between 18! and 4'@ fingers.
al Fine
72
czERNY,
Allegro
16
4
2
01,439- 19
/`.
i
.fr/f
1
Allegro
17
f2
4
Slowly 111111
firmly at first, constantly
736 24
12
CZERNY,
mOltO
i'cvlcwmg
1111111
the study can be played up to time.
Op.139, NQ 45
A'v
f
J
E d
El 9L E3*
8
r'r'r'af
d' 4' 4'

_dv
I
I
t.
TJ'
:I i:4
141
Avv
IA'
v
IA'
it
a' IA'
a' Il'
4' Id'4' Il'
4'IJ'
i' IA'd'
IA' Inlv
ld'
Moderato
Allegro moderato
14
-736 -24
74
DRING, op.8. N91

5
25
v
Slowly, the fingers lifting high and Dlaving with a firm, sure stroke.
DRING, Op.8. N92
/_\
See
\_3//1
KoHLER, op.
Allegro giusto
f-
_1
157.
5<
() Practisc: Adagio
/__\
75
study.
1) 0 0 VTX/'.1
54
`\
341'
Moderatof- Allegro gf-_ Allegro
Later, transpose; adapting fingering.
-736-24
4^
15
remarks-previous
(a)
molto
11-26
76
Moderato
Trani-spose
16 736-24
KOHLER, op. 5o.
legato
2
3
Pay strict attention to fingers;
to easy keys.
precise and firm stroke, quick
lift
and control
at a slow tempo.
NQ
Moderato
77
5
1
22
1'7-'736-24
5KOHLER,
2
Op. 50. NQ 4
78
KoHLER,
>
18-736 24
>
Moderato
dolce ed expressie
>
>
5
1
>
I
op. . N92
>
.
14
Observe previous remarks and suggestions.
LoEsoHHoRN, op. 66 8
mf !
19-73624
62'1
Coda
..%
epoz'la Coda
312
Observe previous suggestions; transpose.
Allegro vivace
/-\1\
26
fao-736 24
4,
WN
CZERNY,
CZERNY,
"
80
Op. 139. N9
Allegro
24
()
. 82122
Allegretto vivo
21-736-24
Later transpose
to D,
E, A,B,
=
_
32433
_
132435
, El
//g-
KOHLER,
Op.
242. N
?
10
82
Allegro
moderato
eggz'ero
3
SCHUMANN,
Op. 68. NQ 14
83
23
-736 -24
Allegro
24
Prach'se very slowly and firmly until the fingers

736 _24
CZERNY, op. 139 ~53
are absolutely sure of the notes.

4
_
_
0L
84
SECOND GRADE
Edited by
DENNE
Alle gretto
'
PIECES
Sonatine
85
CARL REINECKE.
op.127 A
86
f'\
2 -7'3 7-4
n_zf a
/-'
z'z'o
ANDANTINO
Semplice
2
Allegretto
RONDO PASTORALE
>
87
>
rz'l
decrece.
The fingering
4-73'7-4
given is preferable to a strict adherance to the 5 key position.
115
II
7a
DANCING UNDER THE LINDEN -TREE
CHARLES
Edited
vas-1
CARL
89
by
Andantino
op.161, N95
90
@HJHLES
739-2
y
,
Dollys Dreaming
Cradle Song
Andante con moto
THEODOR OESTEN
. 202,N94
DoIIy sleeps
1145
Dollys Dream
91
Moderato
2-739-2
'con
1.
espressione
.
4
'
5
5
4253
atempo
3
92
Char/as
4
'
740-2 B
Denne'w
Allegretto
Rose MazurkaJ
A. SCHMOLL.
p . 50
011412533
2-740-2B
5
by
I.
Ada g io
2
'
5
-5
Morning Prayer
*
CORNELILS_
5
1
GURLITT.
4
3
5
Op.iOi,N.2
'
'oo
decresc.
94
Edited by
UHAHLES
Under the Lindens
Moderato con moto
742-2
PAUL BEAUMONT
P dolce
c
07'88 0.
d z'm .
2-742-2
'1
721
Edina
CHARLES
74820
zwv
Mogerato
Trio
by
DEW/vm
Allegretto
< >
4
2
.
;
3
1/\
POlk
LOUIS
wired by
l>
96
J. PLEYEL
.5
. senza / ! Fine
(Without repeats to Fine )
KHLER
97
2-743-2
f
~
.6'.
Soldlers- March
Tempo di marcia
3108
ROBERT
al Eine
Op. 68, N92
soHUMANN'
l
.f
4
SBO
98
CHARLES Maw/EE'
Edited by
74641
Indlall
P. LACOMBE
Allegretto
1
l
1
a
1
I
5>
4
2
4
The Fan
Edited by
3
4
3
CORNELIUS
$5.
:a
Vivace.
Ems
CHA
99
GURLITT. . .
34312
cr--scen- -do-
SCP/L
Coda.
3^
-ff
j)
-.
poco .
l.
al
747
U.
`/
i
scherzando,
pas'
la
Coda,
'me/ms gu baz/k ; beginning, play to
:md ga dinofly la Me 00da._
100
Ediled by
mwmr
748-2
Merry
2
`.
Copyright
Dance
Allegretto giocoso
CARL HEINS, op.12, N9
5.
>
.
1914, by The University Society, Inc.
-4
>
101
Da
2-748-2
Capo
al Fine
102
749-1
Elli/ed by
Allegretto
>
'
.
.
Once There Was Little Princess
TH.
Op 62,1491
("2
empa
pico rali.
>
>
`
_
3
KULnAK
ra/.
\/
a tempo
Allegro vivace
14
7501
f
4
>,
V
'i
5
Ul
The Clock
103
O
THEODORE KULLAK, Op. 62, N9
Si
2.
13
II-7
104
Valse Mlgnonne
Allegro
cograzla
>
15.1
>
a lampo
L. sTREABBoG, op. 78, N9
105
2-751-2
>
752-2
wI-l
HEINRICH
5
2
Ul
V
CHN
Cu
V
A
Ubb
V
Juv*
.
C
Moderato
.
marcato z!
Ullfllf*
by
J1-Nv
42
Ju.
106
Contemplauon
LICHNER
107
2-752-2
108
Edited y_
CHARLES
753-2
Valse Bluette
J. B. DUVERNOY.
Allegro lmoderato
3
4
@
AA
Op.
272, N91
12
513
2-758-2
'gs
Nr.
109
leggz'ero
28
110
754-4
Sonatina
Spiritoso
M.
'
5
CLEMENTI.
Op. 36,N91
II
111
Andantel
2-754-4
l
.
4
'
112
/*`
3-754-4
4
35
dolce
Vivace
-2
__====:::::::.f
2
1
4-754-4
New
d [ z'n .
114
CHARLES ENNE
755-2
Cheerfulness
JOSEF Lw.
Allegro vivace
2
1
>
Study the flats thoroughly

2
before beginning
Een
1
esp ress.
ai@
to practisethispiece.
@ai
aie
011.142,
N99
2-'755-2
'
Tempo
/\
Sien
il@
2m
'
Pv
tra"
5 2
115
2710
rz'fe .
1%
1'z'race
52
756-2
Song of the
1
3
1
.
111
Allegro moderato
.
.
.
?
www
.PN
ENNEE
.nu
116
Mald
scHMoLL,op.
2
5
'
50,110
"1f
non legato
3
1
CHARLES EIVNEE
z_-vae-zb
I
_Allegro moderato (J=120)

SCHUMANN,
7
4
4
A
117
The Merry Farmer
[1_-____1
.3
Op.68, N910.
PesP ressz'z'
>
77U77
11-10
118
Invitation to the Dance
Edited by
22
758-2
(Slmplified)
CHAR/.ES JENNE
Allegretto grazioso
3
. Savon WEBER
2.
dolce cantabile
II
119
2-758 - 2
120
Ediled by
E/vNE
.
Tempo di Polka
4
759-3 B
3 5
Fairy Polka
FRITZ sPINDLER,0p.
/"_`.
4
93, N93
35
121
24
2-759-3b
Andante
a*
fm.
con espressione
}_===:::
::===_
5
3
1
./3::===.
1
4
(From Sonatine, .36 N94)
Andante
5
4
CLE-ENTI
_\
122
3-759-sb
>
5
simile
cresc
u_5
123
@HARLES
by
DENNL'E
Menuet
BACH
Moderato
dil/1 .
ceo allarg.
II-s
141
212,34
_
v
5_
138)
__
51212
5.4
\'
"
5121/215131512 4
5.
112
21
5
l
Allegretto (JL
124
.
2
._
513151
3245
DUssEK, op. 20,
34252
26
5
5 1
.
5
5
s
N9 1
125
312131
126
dolce
`
Edina
763-1
by
LOSS
Andante con espressione
'Jh-h
127
. GURLITT
>
mollo
128
Edited by
CHARLES DENNEE
764-213
Jolly
Con anima
5
Huntsman
GUSTAVE MERKEL,
Op. 31, N9 2
II
'2
2-764-2
:4
2
12o)
if
.y1
The Wild Horseman
Allegro con brio

_
J.:
DEN/VEZ
CHARLES
29z
129
ROBT. SCHUMANN, Op. 68, N9 8.
'<1f
Fine
aaa/,me
130
Edited by
01 [MES PENNE!
766-5
Allegretto (J
Rondo alla Turca

5
= 144)
/"_"\.
.
3
FRDRIC BURGMLLER. op. 68, No
'
3
//'**___""
5
II
dolce
4,^
132
7-
s
leggz'e
3-766-5
o
.
3
a'z'm.
e
po
rz't.
____
______.__.=______
___.
.___
- ____-_..
)__
133
134
marcato
___
annum'Pm
1
1.
OURLADY 0F SORROWS"IN SEVILLE. FROMA PHOTOGRAPH.
AVE MARIA.
..1311
81):
by
CHARLES
767-4
Easy Varlations
On
.
.
Andante con moto

1
135
SWiSS Song
L. van BEETHOVEN
4
/\.
2
Poco sostenuto
VAR.III
Semp
pele
e
lo
doloroso
'ICLOI
VAR.V
3-76'7-4
1
2
V
1 3
1 4
legato
3
Poco pi tran
sempre
2
*nu
>
/1
vAluv
-1
Tempo primo, un poco animato
'
i110
dolce
V
3 5
f1
>
137
>
4 2
138
2425
calmado
4 767f4
P11000
Con fuoco
VAR.VI
2425
NUI
lb
NUI
Pic.
> <
@i/
4134>
.
'768-1
#Nn
DENNEE
Allegro
4
'
`
.
9.
by
Little R0 g ue
139
ggMANN
Hmlmlcgi7
.
p.
n 5'
l*
.
_
140
Edited by
769'2
Polonaise
CHARLES DEAJEE
Tempo
>
l
d1
polonaise
FRITZ SPINDLER
5
. U P .93
N91
141
__
(-769-2
_L
a@
Teb. 9E
III-11x
142
Playing Tag
!
l
OHRLMSLMWMWF
Allegro
770-2
A.LOESCHHORN,OP.96,N9U
vivo
5
143
1 .a
5
.s
i
l
3
_
@E
1
.
/_\
_Ifa tempo
II-14
144
Christmas Tree
NIELS W. GADE , Op.36
Con moto
-ZLL
\
.
'Il
o
m
my
"
l,
I
_
Il
Tt.
im)
am
fx
iii
iii
___
"
..
."
--
IT:
V HONIN
li
n)
_
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n1
"A
-...*Ph
-F'
_Linn
*b
i#
Ii
Lin
#__
1)
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n
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"'
iii."
'
LPL*
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11-
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il*
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II'
u.
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l
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i'
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t
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if'
19
1
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<
||\
__
@$le
___
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cgil?
l t' 9
9119111121121
'V NHOHHOSHUI
Ii
147
2-772-4
148
3-772-4
4-772-4
.
pi
presto
150
Ediled by
CHARLES DLXVIVEE
Moderato
~
3
773-2
March
XAVER
SCHARWENKA, op. 62,N91

4
11
2-773-2
[nu
151
152
'774- 3b
WALTZ
Allegro con brio

g (D
Molto vivace
>./_`1\1
U16
CURIOUS STORY
STEPHEN KELLER
3^
153
2-774-3
154
/\
_
3-'774
-3
4
a
4
1
"
_^_
2
es
_^._""
1
3
1
_^/\
_^_:
'
Een
>
Een
@ Teb.
es
e,
'3T
@en
a
.__
1
_A-
mollo
'
.ed
asylmssz'z'o
I?
2
z'vo
_A_wisy
155
THIRD GRADE SECTION

Technical
Preparatory
For acquiring
to the
Exercises
Third
Grade
independence-and equality of the fingers
These exercises should be practiced throughout the Third and Fourth Grade, a fe_w at a t_i_me.Attain
the best possible results, both in independence and speed (in several different Keysg) before proceeding
with the practise of new ones.
Each Exercise must be repeated at least 10 or 20 times, omitting the closing note until the last re
petition. Practice at first each hand separately, afterward with both hands together, but always with a
quiet hand.Begin very slowly and increase the tempo gradually, as the fingers gain strength and flexibility.
These exercises should be practiced in all keys, using the same fingering.
Pay strict attention to correct hand position and precise motions of the fingers.
ALOYs SCHMITT,
Op. 16
52413
78512
111
156
2 -765
12
157
-765 12
OQ
11
817
917
_JIJ-JlJ-.m'b
l"""nbm
l
l-J
817
19
617
89
'l
- .rL"-r-l_ -r
159
5-'765
12
160
Avoid stiffness or strain in
all
exercises
holding Keys; independence is the point to be gained.
The following Exercises should be practiced,ascending

the keyboard, in every key, both Major and Minor.
92
234
6-765 12
43
and descending,
over the entire length of
95
105
7-'765
12
107
423124
108
35243542
109
2
4
13243
110
161
162
111
n4
.120
8765- 12
113
ne
1343124
53423531
ne
122
163
129
132
"134
242
d!!!
-1 3
2
164
Exerclses
11
For perfecting
.
the passing under of the thumb

and crossing over ofthe fingers
SCA'LES
111
12
1111
12121212
1111
44
1212
12121212
41
1111
13131313
1111
14141414
1111
1231321
31
21212121
1
123123432132
514
51
41414141
21312
311
313
21312131
14
41
.1.23.1.414.
4.3
4
1.
323
2
13131313
l() ~765 13
14241424
141
141
31413141
4151415113
121
13131313
121
31413
31313131
13
31413141
31313
24142414
41414141 23132313 34143414
121212131313131
13
41514151
21312131
12312341432132
13
21231232132
123111
121112341432132l
123123432132
123123
34143
1111
1111
1311
1111
1111
12313132
11
1111
12121212
31
3
131
3
3 1
434
31313
2414
131
1-1121
2'
13131313 12121212
41.1
1
1315131
3131313
b.
The following
165
ARPEGGIOS
rlsnd'
for
exercises are designed
321
separate
hand practise.
4142
Common Chord
Le
[]
313212
1231321
132
JRE
i
Transpose into every key. In
chords which begin on a black
key, use the chromatic inter

vals passing the thumb under
as follows:
12111321123132123132
inl
ILM
n.11]
l'
123132123132123
414
14
RH
32
'34143
(11
11 -765
12
a
4
1
Chord Of Dominant Seventh
A
(5)
123132123
lu
l
1y
1L."`
iig.
12312123132
1
RH.
12
142
32'
23
Transpose into every key

and extend ad lib.
Transpose into
every key
and extend ad lib.
.(5
(5)
R'I
[.1
(s)
(5)
(5)
23
23
Chord of Diminished
Seventh
im
OAS
414
3
(5)
mutter of practise the use of the thumb on the black
12.- 765
12
keys is strongly recommended
:Ozu
.mUZ<G
025.252 >=._><2
:`
<
Edited by
I
DENNEE
CHARLES
167
THIRD GRADE
Allegro moderato
/_` /T_\\
/\ /` /\
Adapted from
12
STUDIES.
12
DUVERNOY,
op. 120,
N9 5
4/_\_
Also practise omitting half notes
Transpose to neighboring keys
$66
\/
Holding the half notes affords excellent practise for security :md independem'e in the first slow practise
775-42
HI
168
by
DENM'E
Allegro moderato (le26)

4
LE_ COUPPEY,
5
Op. 20, N9 4
pakggbro
Frm-tis slmvly and wit h' {- pre1-1k i-n nt fir>t.then work for lightness and agility inlthe finger action.
~
n.
)'71-5-422
Allegro
4
3-775-
42
:138)
5
BERTINI
5
Op 29 N96
169
III-10
170
Allegro (J
4-775- 42
14
= 138)
1'l
_4
.1
PK
.
.
BERTINI
.
`
5
op 29 No
ETUDE
Allegro
1
5-775-42
4
3
171
1
3
1
sf
4
4V
/
.29 NQ 7
BERTINI
lI-29
Scherzoso
6-7'75
42
OHRLES ENNEE
n#
muy!
lv
172
: by
KRAUSE
op.2,N9
~
7.
173
\,\_,\'/\/\/\`/
2
7-775- 42
078.90.
111 - 23
174
CHARLES
776
- 42
by
l
Allegro
.
@T-96'
w/I'o
(Juf-12)
LE
13
COUPPEY
4
op. 20,
N9 13
41
.
41
1
3
DUVERNOY,
l3
8
z.
126)
\/
/1
(al
=
/
moderato
.f
Allegro
,
3\
0P~1201 NV
175
176
10-775
BERENS.
Allegro (:
42
1
1
op.
61, N91
Molto
10
11 '775 -42
\
allegro
()
177
>/,\__
CZERNY.
d.
Op. 299, N92
12-7'75
-42
*.
.
_11000
a tempo
"if
risoluto
Allegro vivace
Edited 617
CHARLES /
efe
'
*e
A 3
(%`
1
178
HELLER,op.45,
NQ 2.
mosso
_xe
Edi/ed j/
'
v
UHARLS
BENNEE
Allegro
fi
13
Edited y
I
CHARLES /
Allegro
5
.
179
from
CZERNY. Op. 821,
/,____\
24
4
.
1
2
5
CZERNY-
OP 821,
NQ
l2
N.o 3a
"
CHARLES DENNEE
dz'led by
lf
Ibis
14
-7'75a
4Z
Allegro risoluto
5
2
1.
{e7/Ipo
study should
5
be t1;ansposed
LEMOINE.
to other keys as added proficiency
is attained..
Op. 37, NQ 49
.
.
m M
lauw l
.NX
Il
@
:
EESC:
\\\|.//
]|||_
smnw
__
S.. . 5.
~e
182
Ediled by
ENNE
czERNY.
op. 821,51 43
Review constantly for added speed and facility;
transpose to neighboring keys.
Edited by
CHARLES
BERENS,
Allegro risoluto
17'
op. 61,
N9 5
UP_
'I
Allegro moderato
becomes
The first note of each scale group later

first note of L. H. scale groups.
16775 42
becomes
R. . melody, While the bass melodic progression
183
17-775-42
111 - 18
184
Allegro \l) :54)
18
-775
42
.
BERENS.61,N99
185
19
-7'75-
42
186
CHARLES
20-775-
42
Moderato. (J
= 69)
BERENS_ 61
NQ
187
\/
3
Edz'led by
.ff
1
MH/ES !
Allegretto,
5
=116
4
2
(
5
3/\
Arr.
from
#5^
BERTIJI.
9 22.
Op. 29
21.
/"/\.."`
188
CHARLES
'/
'WLF
22-775-42
Presto
15432
>`_/
15
'
'
_-
DURING
15
"L
. 8,
1.5
189
23
77542
>\--"
, UA
p
A.
d
a tempo
>`-
/_\_
rilassa
190
CHAR/,Es
Edited by
24
Enve
22
775-42
HASERT op. 50,

NQ
1
191
25 77
42
192
26- '775-42
193
by

CZERNY
Allegro
Op. 636, N9 12
P -
23
...........
ea.
\_,/
Do not attempt speed until the fingers feel sure at . slow tempo, then gradually increase
eventually Presto.
27.- 775 - 42
to Allegro,
194
Molto Allegro (J = 104)
am'
^.
e*
/_5`
dulce
<
/_\.
CZERNY. op. 299,qu 7
pleggeramente
Tal
'
___@
54
5!
4^
`
.
5,
Q
ma
29-775-42
.
5@
195
30-775-42
am
sf
};
'
Enh
ai@
2_
Poco maestoso
@wrm
25
~\~,\
196
d_scrsc.
. 45, NQ
15
197
'
ai@
nn
en.
623.
by
_
65?@
. czERNY
011821, No 101
C. CZERNY,
Op_821,N_ 108
IMIVE
Allegro
>
>
27
2
4
.
UHAHLS
ff
Edited by
'
*i
..
33.
.
.
2.
riten.
ff
teu.
Practise very slowly and firmly, for precision,at first. Review constantly for speed and freedom.
31-775-42
5164
198
Edited by l
CHARLES bWNE'I
Allegretto con moto
28
g
e'
32 775 42
v'r/wz'osamen
f
p/-\
2
Later apply aquired knowledge
a ,
.4
CNLS'U.
of pedth'ng.
HASERT,
Op. 50, N9 11
pm
i
33
- 775 - 42
dun.
13
_
<
200
29
34 -775
-42
allegro
. 5
_ fk
.21
(J: 92)
1
241
SEI/IIII' [[1ng 0
5421
CZERNY, Op. 299, N9 12

5
3.
il-3'
5 3
201
542
80
35 775 42
4
5
14
4
2
557
czERNY,
op. 821, N9 76
202
Allegro con fuoco

3
LOESCHHORN
Op.38,N9 23
s7-775-42
/ cresce/do
616
energico
-i
204
Molto allegro'
as775-42
J =96)
czERNY, op.299,
32
1 .
41
23
5
dz'mz'n.
No 25
1
39- 775
42
206
Edited by
_
CHARLES DENNEE'
Presto volante
mastered.
40-'7'75-42
_
Practise for accuracy and. distinctness
and finger equality at first, gradually
increasing
CzERNY, Op.299,
N9
speed when these qualities
32.
am
207
50-
41775 42
208
42-775-42
ETUDE
Moderato, ma con moto

BERTINI
@D
[P25
t Niels Gada-
776-1
Copenhague
5
5
by
CHARLES
'
`~
v-
209
THIRD GRADE PIE CES

Norse Song
Greeting to G*
In modo popolare (J :96)

,
5
. 68, N914
4
5
2
.1
210
Edv
Wa ohterlie d
d
(Watchman's Song)
Cluzel'se BEWE
Inspired by
a performance
of Shakespearels
Macbeth
GRIEG. Op.12,N93
Molto andante
4
semplice
legao
|3
Intermezzo
Geister der Nacht
@
777-1
,r
. .
(Spirit
of
(poco rail.)
.
.
he Neg/zi)
Re
Fm?
3
1
2
1
5
2
DS.
al F'z'ne
778-2
!
REINHOLD.
2
5
"NQI
HUGO
Clv
Vivaccmente
QI
Iv*
leggz'era
al
Ediled by
I
CHARLES DEJ'A'EE
..,
P
.
.
o'
5
.
of
211
Coquetry
Op. 56, N9 3
poco marcru'o
212
2-77_2
5
3
1
NJ
l?
l
i
Uu
I
'N
poco .
a empa
poco rali.
sostenuto
Edited by
l
CHARLES
Alle gro
A
'trangm'llo
31
779-2
l
Knlght Rupert
^
A
21345
^
5
4
213
SCHUMANN. op. 68,
211114211
~
^23
A
NQ 12
214
fp
2-779-2
.
Tmpo
.f
nl_30
'
EEES
Edited
__A-'_
780 -4
i
new M
by
..

Tranquillamente
4
@2b.
1
4
.___/1_
_A___
#-
_L_
ai@
5325.
Teb.
. 7`
' No'
Avoir JENSEN
0&1
1 d
__A_.
._._.
.
.
_._
_._._
'
__._.
_._
Tm#
2-780-4
217
5
1
3-780..4
4
2
5
45
1
218
4.780
.4
@a
-^
if'
qll.
#-
111
13
219
Nocturne
Charles Denne
Edited by
761-3
NO'
Andante
cantabile
_1)
-FLAT J 0R
JOHN FIELD
>
916.
@
NNO
p..
:5591/1
e
.
.E
1....
.l
L1_11
.
_L.1|L.1
/
_*
Nm;
_:__
uw
#uw
v__r-
222
Edited by
I
CHARLES DENNE'E
Teb.
782-3
Allegro moderato
NEILS GADE,op.19
al@
a* 653011
feb. sim
5.
111
223
2-782-3
224
222)..simile
by
M mue tt o
Allegretto
784-
1
2
225
FLAT
MOZART
by schul/mjy
HI
226
.
916- Yeh
cantan
o
227
-784-3
228
Valse Aerienne
Vivace
5
( =112
FRITZ SPINDLER, 011.148
`"`"
``
2-785-4
230
3-785-4
_-
4-785-4
- --_. =-.
'TI' We
Ediled by
Moderato
786-2
Iii
CHARLES DENNE
?"
Iv
232
.
1 nuetto
l
PHILIPP SCHARVENKA
233
. .
2 -786 - 2
e
5'
.
rz'ten.
?
4
semere
III-10
787
-4
Moderato assai
marcilla
G.
V
0l
mp
I'
CHARLES
(wir
Edited
Iv
234
y

BACHMANN
/
_>
rz'.
III
235
'
2-787-4
poco }.
n
www
wooo E@
V
NQW. N.Q
50mm@
W).
V
N
237
Tempo I.
ateumpo
mp
marcilla
_f
4-787-4
e erase.
>
III-23,
Allegro
789-2
Elf 1n Dance
molto
Iy) sem
i//Tf
staccato.
~Malfa;
a.'/n._
mareao
EDVARD GRIEG. Op. 12, N9 4
1. 4
WHT||
~MF
1
^\|\\.||.
.l
_u
_www
Ay~r
7(
A11/1
_\|w
.
_H
.
![
..
|11
#ILT
Rmxo
*I
LWIMM
__
.
.1n
:T
228
Valse Aerienne
vivace
5
( -
12
FRITZ sPINDLER,op.148
532A
2-7854
Teb.
230
3-785-4
4-785-4
Edited by
_
CHARLES DENNEE
Moderato
Ik
232
Minuetto
PHILIP?
SCHARVVENKA
233
2 -786
-2
Cresc. .
e
5'
.
rden.
il/@2
l
I
.
semere
5
4
III-10
78' -4
CHARLES
V
poco
V
Ul
z']
mp _
Moderato assal
"
Edited
zo
234
by

,
G. BACHMANN
4
>
.
rz'.
III
235
`
.
2-787-4
rz'l.
.>
l
www
)
g1g' @
wooo
/|\
www
N
WW).
V.
.
. W0. .
l
V\|rl
\l/.
//1.
"
\|.
_F
!
237
Tempo I.
marcao
4-787-4
III-231
238
CHARLES DENNEE.
788-2
by
Presto
f/\
Salterello
A. SCHMOLL.0p.50,N919.
D
239
marc.
2-788-3
111-5,
240
789-2
Elfin Dance
Allegro
molto
sem
1m'
EDVARD GRIEG. Op. 12, N94

1
staccao.
marcalo
III `
241
2-789 -2
marcalo
_ malty
>
'
'
diff.
1//_23\
III-sx
*n
242
N9
III.
Six Variations
Andante, quasi
5
1
5
2
3/\
1
(J
allegretto
5
L'
56.)
2
van BEETHOVEN'
4
2
l\_:`_/
Careful observance ofall the dynamic signs andthe phrasing,is essential throughout these variations.
The difference between n@ -p and mj,l though slight, should be noted and strictly maintained .
790-7
III
243
:::::==
Var.
II.
2-790-7
.
244
len.
Var.
3-790-7
542
WL
.
.
M
_
_
len.
len.
fen.
III.
.
.
NOI
sostenutoJ
w/-nl
>
4-
790-7
= 50.)
3
Tempo un poco .
14_l
Var. IV.
/\.\\24
32
decrese.
\ \
>
= 60.
4
323
5 3 4*
i525|1.1
3
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CHOPIN
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253
Swedish Wedding March
Edited
794 -3
by
F MAJOR, N91
CHARLES EMYEE
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254
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Edited by
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115
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( IV-ix)
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Op. 33,N9 6
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III- IV
l
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279
280
Edited by
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804-013 4
SONGS
SPRING SONG
5v
WITHOUT WORDS, N9
Allegretto grazioso
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SELECTED FOURTH GRADE STUDIES

J . . CRAMER
23224
24
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13
IV
292
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TWO -VOIGE INVENTION,
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77
234
77
77
77
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This study should eventually

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i4 _807-
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be played
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3
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305
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STUDY IN G MAJOR
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HABERBIER, op.
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5;t5
MNE
IGrucefulnesS, lightness and musical tone quality are the essential features of this study. Observe accents and
to bring out the rhythmic beauty
all dynamics carefully
308
Mono Auvgro.
Edited by
GIURLES DEAwEE
(J = 80.)
STUDY
1N
MAJOR
CZERNY
Op. 740, N9 21
eggvero
......... :
dim
in
To be played utmost
vontrast is imperative.
18-807
26
>
smoothness, oftouch; strict observance of accent,` shading and
loggie ro
leggio 7-0
19-807 26
IV- 16 x
dfd by
CHARLES DFNNFE
Vivace. (:
IN A
58.)
Practise with firmness and precision at first ; ultimately play with a. light free
in the observance of light and shade as indicated by the marking,
20-80'7-26
CZERNY,
Op. 740, N9 31
f in g er touchu s i ng extremme
311
leggero
21- 807
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from .
313
Y
011521,
314
STUDY 1N F MAJOR
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................................................................................... ...................................................
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BALFE
GRADE
FOURTH
PIECES
SONATA
From the CENTURY
LIBRARY of MUSIC
Ignace J.Paderewski
Edited by
DOMENICO
SCARLA'ITI
Allegrissimo
920-CB
\.
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_
_+
4@
Copyright 1901, by The Century .
f .
l 4 i
IV
318
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fr
319
.
25.13
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320
321
5 _920 .1-,
322
BARCAROLLE
; by
August Fraemcke
586
6
(From uThe
Andante cantabile
Copyright
MCMX,by The University Society,Inc.
P. TSCHAIKOWSKY
Op.3'7, NQ 6
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2
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IV
323
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espressi.
2-586-6
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324
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328
SPRING
AN DEN 4FRHLING
_Edited by
A. Pero
'
Allegro appassionato
EDVARD GRIEG
Op. 43, No.6
Oi.; x4)
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cantabile
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586
JUNE
Edited by
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;
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Copyright
(From
Andante cantabile
.3p
MCMX,b_y
The Seasons)
August /
The University
1
P. TSCHAIKOWSKY
011.37, N9 6
l
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333
MINUET
Edited by
Charles
6155CB
MENUET IJANTIQUE
Denne
I
1.
l
l
J. PADEREWSKI
A
op.14,N<.>1
232.12
mp legao
Copyright-MCMX,by The University Society, Inc,
IV
334
rapidamente
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5-615-5
338
VARIATIONS
1N
MAJQR
THE HARMONIOUS BLACKSMITH
FrOm the CENTURY LIBRARY 0f MUSIC

Edited bJ/ Ignace J.Paderewski
Molto tranquillo semplice (J
.rv
HANDEL
58)
'4%
@A
w
|
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Vp/
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Var. I.
1"
cantabile
L.
863
6-CB
Blum.
.
Copyright.
m-
1901, by The Century .
1*
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IV
3.
3
Val'.
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Var. IV. Uistesso tempo

341
vmf
4-863-6
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342
5-863-6
Val',Y.
Rapidamente
343
6-8636
07'680.
SPINNING SONG
SONG WITHOUT WORDS
From the CENTURY LIBRARY of MUSTO
Edited by Ignace J. Paderewski
>d
Presto
N .
XXXIV
F FYDFLSSOHY
A
A
<
),6"7,N0.4
7; leggere
s*
868-_6_ CB
a*
'Stax
Copyright 1901,@ The University Society, Inc.
ai@
345
2- 868-6
346
3- 868-6
347
4-868-6
5- 868-6
male
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348
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349
6-868-6
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350
'
934
BERCEUSE
From the CENTURY

Edited by
- -CB
LIBRARY of MUSIC
Ignace J. Paderewsk
DFLAT
Andante
F'
Copyright 1.902, by The University Society, Inc.
Qa.
CHOPN
Op. 57L
2:934-6
41712
82
351
...
934
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fen
58.
58.
42.
08.
352
loggie ro
'I'
4-934-6
354
sostenu
5-934-6
6 984 -6
356
SONATA QUASI UNA FANTASIA

C
SHARP MINOR
Edited by
Charles Denne
Lioonlight
Adagio sostenuto (J:
L. van BEETHOVEN
Op. 27, No.2
Sz deve suonare tutto questo
pena dell'oatissimamenfe
e senza sordi/u'
_L
1122-19-CB-L
pp
__A
ma cantando con espressione
\_____/
3
/:
1918, by The
University Soca'etanc.
357
358
pp ma
8-1122-19
^'
kif
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359
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4-1122-19
_L
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rit.
360
Allegretto (:
5
1
5-1122-19
4
6-1122'19
4_,/
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1),
C.
361
rz't.
Fine
al Fine
362.
Presto agitato
1
7-1122-19
2
( = s4)
4
'
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cantabile
L''ESC. 17000 17000
8- '1122-19
364
^^^
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9-1122-19
poco
a poco
365
>
;
10-1122 19
366
/2
11-1122-19
14
>
m1 cantabz' e
\
13
cantabile
12-1122-19
2
UI
umso.
Ik
\_,/
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367
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, tempo
13-1122-19
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368
dec-reso.
369
f
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14-11 22 -19
poco a
pcautabz'le
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370
15-1122-19
371
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16-1122-19
`
372
17112219
373
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18-1122-19
374
Adagio
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From the CENTURY LIBRARY of MUSIC

Edited by Ignace J. Paderewsk
Andante
SOS 1 C-B-
ten.
._ .
esp r.
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INDEXES
ALPHABETICAL
SUPPLEMENTAL
INDEX BY TITLES AND COMPOSERS
INDEX 0F GRADED
C0MPLETEGRADEDINDEX
STUDY
.
.
.
-
MATERIAL
CONTAINED
1N
-
VOL.
-
387
PAGE
393
391
GENERAL INDEX
I-V
OF THE PIANO SELECTIONS IN VOLUMES

ALPHABETICAL INDEX OF TITLES
COMPOSERSIN ALPHABETICAL ORDER
Two-Voice Invention,
Op. 192 .
11
482
.
.
244
11
278
83
353
135
242
11
590
II
540
11
337
Major .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
BRAHMs, JOHANNES
.
Capriccio, Op. 76, No.
Major
Hungarian Dance,
Major
Hungarian Dance,
Hungarian Dance.
Minor
Intermezzo, Op. 76, No.
.
.
Rhapsodc, Op. 79, No.
Rhapsodie. Op. 79, No.2.
Waltzes,Op.39. . . .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
609
376
211
387
328
144
156
150
II
572
FELIX
La Coquette
668
III
I I
1 I
merveilleuse
764
144
435
590
BLANCO, PEDRO
.
Capricho. D Minor
Intermedio,
Minor
Serenata,
Minor .
BoRowsKI,
. .
. .
518
693
II
976
IV
356
1060
1090
331
11
II
IV
BLANCARD, JEANNE
Impromptu, E-Hat
III
II
III
V
V
II
.
.
.
II
IV
II
BERG, IRENEE
Bouquet of Roses
(Serbede Roses
Chant damour
.
Song of Love
La Promenade de
The Coquette
Plaintive Chanson
..........
II
II
11
II
II
11
III
2,
III
III
BEETHOVEN, LUDWIG vAN

Andante,
Major . . . . . . .
Andante, from Kreutzer Sonata .
Bagatelle, Op. 33. No.
. . . .
Funeral March, from Sonata, Op. 26 .
Fr Elise . . . . . . . . . .
Six Easy Variations on
Swiss Son
Major . . . .
Six Variations,
Sonata, Op.
No.
. . . . .
Sonata, quasi una Fantasie, Op. 27, No.
Sonata, Op. 31, No.
. . . . . .
Sonata, Op. 90
. . .
Sonatina, D Major .
I
I
I
.
.
.........
.........
..........
.......
............
...........
.............
769
313
l 7
..........
..............
......................
..........
............
..............
..........................
....................
No.
A Minor
and Fugue,
BART-LETT, HOMER N.
Le Matin, Mazurka,
C
.
Capriccio, Op. 76, No. 2 ...... BRAHMs
.....
Capriccio, F-sharp Minor ....MENDEI.ssoHN
SCARLATTI
Capriccio, E Major
HUMMEL
Caprice, Op. 49
Caprice la Scarlatti. Op. 14,
PADEREwsKI
No. 3
BLANCO
Capricho, D Minor
Chaconne, Op. 62
DURAND
BERG
Chant dAmour
No.
Op
Chant sans paroles,
2.
TscHAIxowsKY
3
Consolation, Op. 30. No. 3....MENnELssoHN ......
REINHOLD
Coquetry
111
II 1
BACH-Llsz'r
Prelude
la
.............
..........................
.............
.............
NIO.
. .
.S.
FE
....................
.............
180
............ IV
............ IV
........... II
.............. V
I
........ IV
..........
...........
...........
........
...........
............
..............
........
.............
..........
Minuet,G...........
..............
..............
.....................
...........
avotte, D Minor
. . . . . . .
Gavotte,
Major, from French Suite No.
Gavotte,
Minor
. . . . . .
BAcHMANN, G.
Bagatelle. Op. 33, No. 6 ....... BEETHOVEN .........

Ballade, Op. 23
CHOPIN
CHOPIN
Ballade, Op. 47
MARTINI
Balletto
GADE
Barcarolle, Op. 19
Barcarolle, Op. 10, No. 3 '....RACHMANINoI-F
Barcarolle, A Minor
RUBINs'rEIN
Barcarolle, F Minor
RUBINsTEIN ........
Barcarolle, G Major ..
..RUBINsTEIN
..
..
Barcarolle, G Minor
..RUBINsTEIN
........
37, No. 6 ....TscHAtKowst
Barcarolle,
Oprom Tlie Seasons"
_Iune,"
Basso Ostinato, Op. S, No. 5..ARENSKY
HENsELT
Berceuse
ILYNsRY
Berceuse, Op. 13
Berceuse, Op. 20, No. 11 ..... KARGANOFF
Berceuse, Op. 24. No. 2 ...... LIADOW
Berceuse, . 57
CHOPIN
Beside the Cradle, Op. 68, No.
GRIEG
5
ScHUMANN
Bird as Prophet
......
Boat Song. Op. 63. No. 3 ..... SanRwENR-A
BERGE
Bouquet of Roses
52,
No.
5
.....
ARENsKY
Sea,
By the
Op.
B
BACH,
............. III
III
.........................
..
Valse,Op.36,No.7
.
52;
II
...................
................
............
ARENSKY, ANTON
Basso Ostinato, Op. 5 . .
By the Sea (Prs de la mer)
...............
.......... II
.............. II
........... II
.............. 11
........ 11
............. V
Angelus, The, Op. 140, No. 1..LAcoMBE

Anitras Dance
GRIEG
From Peer Gynt"
As the Sun Sets Op. 25, No. 3.WILsoN
eorgia"
From In
_
;
Ases Tod
` Peer Gynt"
DE BLANcIc
At the Beach
GODARD
Au Matin. Op. 83
Auf Flgeln des Gesanges ..... MENDELSSOHN-Llsz'r.
zum Tanz, Op.
Auffrderung
65
WEBER
Automne,
35, No. 2 ....... CHAMINADE ........
EtudeOpe Concert
Zortzico...........I
ALBERT, EUGEN D
Gavotte and Musette, Op. 1, No. 4
Minor ..................... ............

An den Frhling, Op. 43, No. 6.GRIEG .............
An der Wiege, Op. 68, No. 5..GR1EG ..............
PAG:
Vol.
ALBENiz, I.
........
........
BEETHOVEN
BEETHOVEN
GG
...........
.....................
Andante, F Major
Andante
From Kreutzer Sonata
Vol..
1
1
IV
IV
976
193
184
1009
1030
683
GENERAL INDEX
Vol..
11
11
1
PACE
540
572
10
......... Llsz'r .............. IV

............. CERVANTES ......... III
............ GRIEG .............. II
....... REBIKOFF .......... 1
Dance of the Gnomes

Danzas Cubanas
Death of Ase, The
From Peer Gyn!"
Devils are Amused, The
1234
708
9,
2 1
II
1
II
II
II
II
111
III
Joys
_. .
The Maidens Wish
COUPERIN, F.
The Nun
11
II
458
256
II
357
........... 1
............. II
........... 1
.............. IV
......................
..............
.......................
...............
...................
11
II
............ II
461
II
11
......
....................
II
DE BLANCK, HUBERT
En la
. .
Plaga
At the
each
DEnUssY, CLAUDE
Reverie .
DUEols, TH.
A Sketch (Esquisse)
DURAND, AUGUSTE
Chaconne, Op. 62
Dvox, ANTON
Humoreske, Op. 101, No.
Humoresque
Slavic Dance. Op. 46, No.
Waltz, Op. 54, No.
II
501
II
435
II
II
II
476
551
.............
.............
.............
..............
.........
........
IV
I
G
Gavotte, D Minor
. . .BACH
From English Suite No. VI
...BACH
Gavotte, G Minor .
From English Suite No. III
Gavotte, G Major ............BACH
From French Suite No.
...SILAs
Gavotte, E Minor
GLUCK-BRAHMS
Gavotte
From Iphigenie in Aulis"
Gavotte and Musette, Op. 1,
DAI.BERT
No. 4
From Suite in D Minor
BERG
Gerbe de Roses
GALUPPI
Gigue
LIszT
Gnomenreigen
ScHARwENKA ......
Gondollied
.........
Good Night, Op. 96, No. 12...LoEscHoRN
Gypsy Rondo, G Major ...... HAYDN
From Trio No. V
CHOPIN-Lrsz'r
............
........................
....................
IV
............
..............
..............
..........
.........
.........
...........
...........
..........
...............
.........
...........
.......................
..............
..............
Fantasia, C Minor, No. 2 ..... MOZART

Fte en t, Un
GRAY
Fileuse, La, Op. 157, No. 2... .RAI-F
Fillette implore sa mre, Une.REBIKOFF
ErLENBERT
First Heart Throbs
Flatterer, The
CHAMINADE ........
HABERBIER
Flower of Spring, A
SINDING
Frhlingsrauschen
HANDEL
Fugue
SCHUBERT-Liszr
Funeral March
BEETHOVEN .........
Funeral March
From Sonata Op. 26
Funeral March of a Marion
GoUNOD
ette
BEETHOVEN .........
Fr Elise
..............
CHOPIN, FREDERIC
Ballade, Op. 23
Ballade, Op. 47
.
Berceuse, Op. 57 .
Etude, Op. 10, No.
Etude, Op. 10, No
Etude, Op. 10, No.
Etude, Op. 25, No.
Etude, Op. 25, No.
Etude, Op. 25, No.
Etude, Op. 25, No. 2
Impromptu, Op. 36 .
Mazurka, Op. 59, No.
Mazurka, Op.
No.
.
Mazurka, Op. 50, No.
Nocturne, Op.
No.
Nocturne, Op, 15, No.
Nocturne, Op. 15, No.
Polonaise, Op. 40, No.
Polonaise, Op. 40, No
Polonaise, A-flat Majo
Prelude, Op. 28, No.
Prelude, Op. 28, No. 20
Scherzo, Op. 39 . .
Valse, Op. 34, No.
Valse, Op. 42 . . .
Valse, Op. 64, No.
.
Valse, Op. 64, No.
6,
II
Eroticon, No. 2, D-flat ....... SJGREN ...........
II
II
Erotik, Op. 43, No. 5 .......... GRIEG .. . ..
..
II
[l']EscarpOlette
..
..... .0=
II
Esquisse ..................... DUBOIS ............
II
Etincelles, Op. 36, No. 6 ....... MoszkowsKI .......
Etude, Op. 10, No. 3 ......... CHOPIN ............ 111
Etude, Op. 10, No. 5 ......... CHOPIN ............ 111
Etude, Op. lO, No. 12 ........ CHOPIN ............ 111
1
Etude, Op. 25, No. 1 ......... CHOPIN ............
Etude, Op. 25, No. 7 ......... CHOPIN .. .`......... 111
Etude, Op. 25, No. 9 ......... CHoPIN ............ III
Etude, Op. 25, No. 12 ........ CHOPIN ............ IV
Etude, Op. 23, No. 2 ......... RUBINSTEIN ........ III
II
Etude Mignonne, Op. 16, No. 1.SCHTT ............
II
Evensong, Op. 140, No. 5 ..... LACOMBE ..........
l
CHAMINADE, C.
Automne, Etude de Concert, Op. 35, No. 2 .
Scarf Dance .
The Flatterer (La Lisonjera).
-.
CERVANTES, IGNACIO
Danzas Cubanas
Eln Dance, Op. 12, No. 4....GRIEG ..............

En la Playa .................. DE BLANCK .........
H...
<<<<<<<
.............
..........
...........
ALPHABETICAL INDEX 0F TITLES
...............
.................
Coquette, The
BERC
Coquette, La
BoROwsKI
Cradle Song, Op. 4, No. 3 ..... :
2 1 l 3
388
EILENBERG, RICHARD
First Heart Throbs, Op. 50
ELGAR, EDWARD
Loves Greeting .
Salut d'amour, Op. 12
II
384
II
586
............
Harmonious Blacksmith, The..HANDI-:I.

ROMANIELLD
Heart Yearnings
Histoire triste qui finit bien,
REBIKOFF
Une
.............
.......................
........
11
.......... II
FERRATA, G.
Serenata Romanesca
FIELD, JOHN
Nocturne, No. V, B-at
43
219
GENERAL
...........
BRAHMS ...........
BRAHMs ...........
BRAHMS ...........
6...Llsz'r ..............
10..LrszT ..............
l3..LIszT ..............
..................
Major ................
Major ................
Minor ................
Humoreske
Hungarian Dances
Hungarian
Hungarian
Hungarian
Rhapsody, No.
Rhapsqdy, No.
Rhapsody, No.
...... '. ..
..........
............
..........
..........
..........
..........
..........
............
..............
...........
............
...........
.............
.............
.............
..........
.........
........
.........
IV
IV
1V
PAGE
476
193
190
184
1293
1304
1317
III
111
II
III
V
11
II
II
II
I
111
293
I
Joyful Moment .............. REBIKol-r ..........
onful Wanderer, The ....... WoLFF .............
June, Op. 37, No. 6 ........... TscHAlKowsKv
Barcarolle, from The Seasons"
11
II
V
407
339
322
........
213
.....................
..........
.....................
................
................
G
GADE, NIELs W.
Barcarolle, Op. 19
GALUPPI, BALDAssoRE
. . . .
Gigue
Sonata, D Major
GLUcK-BRAHMS
Gavotte, from Iphigenie in Aulis
GonAno, B.
Au Matin, Op. 83
GoUNon, CH.
Funeral March of a Marionette .
GRAY, ARTHUR
Les Nrides .
The Nereids
Un fte dt . .
A Summer Holiday
, EDVARD
Dance, from Peer Gynt, Op. 46,
Anita@
. 3 . . . . . . . .
Beside the Cradle, Op. 62, No. 5
Au der Wiege
. . . .
Erotik (Pome rotique), Op. 43, No. 5
In the Hall of the Mountain King
.
From Peer Gynt," Op. 46, No. 4
Morning, from Peer Gynt," Op. 46, No. 1
Nocturne, Op. 54, No. 4 . . . . . .
Bridal Procession, Op. 19 .
Norwegian
The Death of , from Peer Gynt ;
Ase's Tod, Op. 46, No. 2
43, No. 6
Sprin
Op.ing
An den rh
Wchterlied, Op. 12, No. 3
"atcllman's Song
GRNFELD, ALFRED
Romance. Op. 45, No. 1
GUILMANT, ALEx.
.
Tarantelle
............ II
.............. I
............ 11
...HANDEL
From Xerxes
Lisz'r
Liebestraume. No. 3
Lied der Sehnsucht, Op. 22,
No. 2
Nicom:
Lisonjera, La
Little Girl Implores Her

Mother, A
REBIKol-F
Loves Greeting, Op. 12 ...... ELGAR
472
255
II
426
450
.......... II
............. II
406
586
........
HABERBIER, E.
Flower of Spring, Op. 53, No. 3 .
HANDEL, G. F.
.
Fugue, E Minor .
Largo, from Xerxes .
Suite, D Minor
.
Variations, Major
. .
"The Harmonicas Blacksmith"
HAYDN, FRANZ Jos.
Andante with Variations, F Minor .
Gypsy Rondo from Trio, No. V, G Major
. . .
Ochsenmenuett ( Minuet)
HENsELr,
Berceuse
HUMMEL, J. N.
Caprice, Op.. 49 .
............
..........
.....................
.......................
.........
............
Madrigals, Op. 39
WILLIAMS
111
Maidens Wish, The
CHoPIN-Llsz'r
..... I
Mamey
PAs'roR
II
Man lebt nur einmal .........STRAUss-TAUSIG
IV
March
SCHARwENKA ......
V
March of the Flower Girls....WACHs
11
March of the Little Tin Sol
diers
PIERN
11
Marche Militaire ......
SCHUBERT-TAUSIG
.. IV
Matin, Le, Op. 192 ..
BARTLETT
11
Mazurka, Major
ScARAMUzzA .......
I
Mazurka, Op. 6. No. 1
I
CHOPIN
7
Mazurka, Op. 10, No. 3
MoszKowsKl
......
Mazurka, Op. 24, No. 2 ....... LEscHE'rlzKY
....... 11
Mazurka, Op. 50, No. l .......
I
Mazurka, Op. 59, No. 3 ....... CHoPIN
I
Melodie, Op. 16, No. 2
PADEREwsKI
RquNsTEIN ........
Melody, Op. 3. No. 1
Menuet lantique
PADEREwsKI ........
V
Menuetto, B Minor
SCHUBERT
V
......................
.........
............
............
..........
........
.......
........
.........
...........
..........
PAG:
222
213
229
236
428
463
634
647
374
240
612
650
638
34
642
328
2'10
111
751
11
558
Knight Rupert, Op. 68, No.12.ScHUMANN
Largo
389

Vol..
11
Impromptu, E-flat Major ..... BLANCARD

Impromptu, Op. 28, No. 2....RE1NH0LD
Impromptu, Op. 36
Impromptu, Op. 90, No. 1....ScHUBER'r
Impromptu, Op. 90. No. 4....SCHUBERT
Impromptu, Op. 142, No. l...ScHUpERT
Impromptu, Op. 142, No. 2...ScHUBER'r
Impromptu, Op. 142, No. 3...ScHUBl-:RT
1 wunderschnen Monat Mai. MERKEL
In the Hall of the Mountain
. ..... . ...... GRIEG
King rom "Peer Gynt"
In the Merry Month of May. .MERKEL
Intermedio, E Major
BLANCO
Intermezzo, Op. 76. No. 7 ..... BRAHMS
Invention, TwoVoice, No. l..BACH
Invitation to the Dance, Op. 65.WEBER
Italian Concerto
....BACH
INDEX
............
............
....... II
II
..........
ILYNSKY, ALEX.
Berceuse, Op. 13, No. 7
JENSEN
The Mill
JENSEN-NIEMANN
Murmuring
Zephyrs
Murmelndes Lftchen
II
III
III
II
V
757
472
338
375
262
135
III
693
J
215
II
614
II
602
KARGANorF,
KJERULF, H.
4, No. 3 .
Cradle Song,
.`
.
L
LACoMBE, P.
The Angelus, Op. 140. No. l .
Evensong, Op. 140, No. 5 .
10
II
II
494
475
GENERAL
390
ALPHABETICAL INDEX or TITLES
Menuetto, D Major ..........ScHARwENKA

......
Merry Farmer, The
SCHUMANN
Mill, The
JENSEN
Minuet, Op. 14, No. 1
PADEREWSKI
Minuet, E~fat
MOZART
Minuet, G Major
BACH
Minuet
MOZART
From Don Juan"
Minuet and Allegro, G Major.MozART
Minuet and Trio, G Major....MozAR'r
Moment joyeuse
REBIKOEF
Moment Musicale, Op. 94, No.
3
SCHUBERT
Moonlight
Sonata
BEETHOVEN .........
Sonata quasi una Fantasia, Op. 27, No. 2
Mouvement perpetuel
WEBER
Rondo from Snata, Op. 24
Murmuring Zephyrs
...JENSEN-NIEMANN ..
Music Box, The, Op. 32.' ..... LIADow
CHOPIN-LISZT ......
My Joys
..........
....................
........
...............
............
......................
.............
..........................
.........
........
......
.....................
VoL.
V
V
V
V
V
V
V
........
............
.......
............
..............
............
............ I
............ I
.......... II
.......... 11
.............
............
PAGE
232
117
215
333
225
12.3
60
327
326
407
356
IV
1038
II
614
I
I
261
................
.......
........ II
.............. II
............ V
............ I
............ I
II
............ I
............ IV
............ 1V
Nachtstuck, Op. 23, No. 4 ..... SCHUMANN

Nereids, The
GRAY
Nocturne, Op. 9, No. 2
CHOPIN
Nocturne, Op. 15, No. l ...... CHOPIN
Nocturne, Op. 15, No. 3 ...... CHOPIN
Nocturne, Op. 23, No. 4 ...... ScHUMANN
........
Nocturne, Op. 27, No. 1 ...... CHoPIN
Nocturne, Op. 27, No. 2
CHOPIN
. ...... CHoPIN
Nocturne, Op. 48,
Nocturne, No. V,
Nocturne, Op. 54,
Norse Song, Op. 68, No. 14...ScHUMANN
........
Norwegian Bridal Procession..GRIEo
Norwegian Wedding March. . . SDERMANN ........
Nun, The
CoUPERIN ..........
......
..............
...................
576
II
............
............
Ochsenmenuett (Ox Minuet) . .HAYDN

On the Chattahoochee, Op. 25,
WILSON
No. 4
From In Georgia"
MENDELssoHN-LISZT.
On Wings of Song
STRAUsS-TAUSIG .. ..
One Lives but Once
-..SMITH
Oriental Dance
.....................
...........
.........
............
262
11
629
129
1275
673
IV
............. III
..............
...............
..............
..........
........
........................
............
SCHUMANN ........
Papillons, Op. 2
Peer Gynt, Suite No.1,0p.46.GRIEG
ROMANIELLO
Pene damore
SCHNECKER
Petit ballet, Un
RAVINA
Petit bolero, Op. 62
Picture of an Ancient World. .REBIKOFF
REBIKoFF
Pictures for Children
PASTOR
Pia
BERG
Plaintive chanson
Pome rotique. Op. 43, No. 5.GRIEG
Polish Dance, Op. 3. No. 1... .ScHARwENKA ......
Polonaise, Op. 40, No. 1 ..... CHOPIN
Polonaise, Op. 40. No. 2 ..... CHOPIN
Polonaise, A-at Major ...... CHoPIN
Polonaise, Major
Llsz'r
POLDINI
Poupe Valsante
CHOPIN ..
CHOPIN
Prelude, Op. 28, No. 15...... CHOPIN ..
Prelude, Op. 28, No. 17...... CHOPIN
Prelude, Op. 28, No. 20 ...... CHoPIN
RACHMANINOFF
Prelude, Op. 3. No. 2
Prelude, Op. 11 .............SCRIABIN
Prelude, Left Hand Alone ...SCRIABIN
Prelude, Minor
SMI-:TANA
..........
............
.......
......
........
...........
..............
.......
........
............
..........
..........
............
.............
..............
............
............
............
..............
............
11
II
II
II
11
II
11
11
II
11
III
I
IV
11
V
V
............ 1
............ 11
III
.......... I
.......... 111
.......... II
INDEX
LEscHE'rIZRv, THEODOR
Mazurka, Op. 24, N o. 2
.
LEVY, LUIS
Tango Burlesco, Op. 28 .
LIADow, ANAToLE
.
The Music Box, Op. 32
.
Une Tabatire musique
LISz-r, FRANZ
Gnomenreigen
. .
Dance of the Gnomes
Hungarian Rhapsody, No. 6
La Romanesca
. . .
Liebestraum, No. 3 . . .
Polonaise, Major . . .
Rakoczy March
. . . .
Un sospiro, Etude . . .
Valse Impromptu
Waldesrauschen
LoEscHoRN, A.
Good Night, Op. 96, No. 12
Vol..
II
II
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
PAGE
IV
IV
IV
IV
III
I
IV
IV
III
IV
11
MAcDowELL, EDWARD
Scotch Poem, Op. 31, No. 2 . . . . .
Witches Dance, Op. 17, No. 2 . . . .
MARTINI, GIOVANNI BATTISTA
Balletto
. . . . . . . . . . .
MASON, WILLIAM
Spring-Dawn,
Op. 20 (Mazurka-Caprice)
.
MENDI-:LSSOHN
Capriccio, F-sharp Minor . . . . . .
Consolation (Song Without Words) No. 9,
. . . . .
Op. 30, No.3
Rondo Capriccio, F-sharp Minor
. . .
Scherzo a Capriccio, F-shar
Minor
. .
Song Without Words, Op. 3, No. 4
. .
Song Without Words (Spinning Song) No.
34, . 67, No. 4 . . . . . . .
Spring Song (Song Without Words) No. 30
Variations,
Op. 82 . . . . . . . .
MENDELsSoHN-LISZT
Auf Fliigeln des Gesanges
. . . . .
Wings of Song
MERKEL, G.
In the Merry Month of May, Op. 25 . .
1m wunderschnenMonat Mai
Moszxowsicr, MORITZ
Etincelles, Op. 36, No. 6 . . . . . .
Mazurka, Op. 10, No. 3
. . . . . .
Serenata, Op. 15, No. l
. . . . .' .
MOZART, W. A.
Fantasia, C Minor, No. 2 . . . . . .
. . .
Menuet and Trio, G Major
Minuet, E-flat
. . . . . . . . .
Minuet, from Don Iuan
. . . . .
Menuet and Allegro
. . . . . . .
Turkish March, from Sonata in A . . .
II
620
303
II
492
II
544
197
111
376
III
V
V
1
11
II
II
IV
I
V
V
NIconE, J. L.
Lied der Sehnsucht, Op. 22, No. 2
Song of Longing
PADEREWSKI, I. I.
Caprice la Scarlatti, Op. 14, No. 3
Melodie, Op. 16, No. 2
. . . .
Minuet, Op. 14, No. 1 . . . . .
Thme Vari . . . . . . . .
PASTOR, RAI-AEL
Three Cuban Dances
Mamey
. . . . . . . . .
Pia
. . . . . . . . . .
. . . . . . . . .
Zapote
PIERN, GABRIEL
March of the Little Tin Soldiers
.
Marche des petits soldatsde plomb
.
.
.
.
.
.
.
.
.
.
11
111
11
764
338
1138
.
.
.
II
II
II
454
II
IV
456
414
.......... III
............. II
.............
540
.............
.........
........
........
.....................
..............
...........
........
............
...........
...........
...........
.......
.............
.......
.........
..............
..........
........
......
..............
......
..........
LIszT
Rakoczy March
STRAUss
Reverie, Op. 9, No. 4
SCHUMANN
SCHTT
DEEUssY
Rhapsodie, Op. 79, No. l ..... BRAHMS

Rhapsodie, Op. 79, No. 2 ..... BRAHMS
Rhapsodie Hongroise
See Hungarian Rhapsody
GRNFELD
Romance, Op. 45, No. l
RAI-F
Romance, Op. 2
SIBELIUS
Romance, Op. 24, No. 9
Romance, Op. 28, No. 2 ....... SCHUMANN
Romance sans paroles ....... SAINT-SAENS
Romanesca, La
LIszT
Rondo Capriccioso, Op. 14....MENDELssoHN
SINDLING
Rustle of Spring
..............
............
120
624
11
508
II
II
I
IV
IV
1009
1030
III
II
751
II
II
III
III
111
175
626
930
743
S
Sad Story Which Ends Hap
pily, A
Salut damour, Op. 12
Scarf Dance
Scherzo, Op. 39
Scherzo .capriccio, F-sharp
................... REnIxorr ..........

......... ELGAR .............
................ CHAMINADE ........
.............. CHOPIN ............
Minor ..................... MENDELssoHN .....
Schlummcrlied, Op. 124,No.16.SCHUMANN
........
Scotch Poem, Op. 31, No. 2...MAcDowEI.L .......
Serenata, E Major .......... BLANCO ...........
......
Serenata, Op. 15, No. 1 ....... MoszKowsKI
Serenata Romanesca ......... FEREATA ...........
Six Easy Variations on a Swiss
Song ...................... BEETHomN
Six Variations, G Major ...... BEETHOVEN
Sketch, A ................... DUBOIS ............
Slavic Dance, Op. 46, No. 2..DVORK
...........
Slumber Song, Op. 124, No. 16.SCHUMANN ........
II
II
IV
111
II
II
II
V
V
II
II
II
III
III
Soire de Vienne, A Major..ScHUBEnT-LIszT

Soire de Vienne, A Minor..ScHUBEnT-Llszr
V
Soldiers March, Op. 68, No. 2.ScHUMANN
Sonata, Op. 2, No. 3
111
BEETHOvEN
Sonata quasi una Fantasia, Op.
, No. 2
V
BEETHOVEN
"Moonlight"
IV
Sonata, Op. 31, No. 2
BEETHOVEN
IV
Sonata, Op. 90
BEETHOVEN
Sonata, D Major
GALUPPI
I
Sonata, Major
V
SCARLATTI ..........
Sonatina, D Major
BEETHOVEN
I
Sonatina, Op. 127
REINECKE
V
11
NIcODE
Song of Longing
BERGE
Song of Love
V
Song of the Ploughman ..... BACHMANN
Song Without Words, Op. 30,
N o. 3
..... 11
MENDELssoHN
No 4
MENDELssOHN
I
No. 6
MENDELssoHN
..... V
..... V 344
No. 4
MENDELssOHN
No. 3
II 609
'IscHAIKowsKY
LiszT
IV 1122
Sospiro, Un, Etude
MoszkowsKI ......
562
Sparks, Op. 36, No. 6
..... V
Spinning Song, Op. 67, No. 4. .MENDELssoHN
II 544
Spring-Dawn, Op. 20
MASON
MENDELssoHN
..... V
Spring Song
111 982
Suite in D Minor
HANDEL
Il 634
Summer Holiday, A
GRAY
Swedish Wedding March, No.
V
l, F Major
253
SDERMANN ........
.........
.................
.........
...............
............
............
..........
............
............
...............
.....................
......................
.....................
.....................
.....................
..........
.........
.........
.................
............
..........
................
........
........
........
........
........
...........
........
..........
............
............. ll
........
..............
............
...........
.............
II
COMPOSERS1N ALPHABETICAL ORDER

POLDINI, En.
Poupe
Valsante
R
RACHMANINOFF, SERGE
Barcarolle, Op. lO, No. 3 .
Prelude, Op. 3, No. 2 . .
RAFE, JOACHIM
La Fileuse, Op. 157, No. 2
Romance, Op. 2 . . . .
RAVINA, HENRI
Petit Bolero, Op. 62
REBIKOEF, V.
The Devils are Amused
Les demonssamusent
Pictures for Children
Tableaux pour enfants
L'escar olette
The rapeze
Moment 'oyeux .
Joyful
omcnt
Une fillette im lore sa mre . .
A Little Girl mploresHer Mother
Vision du monde anti ue .
Picture of an Ancient
orld
Une histoire triste qui finit bien .
Sad Story which Ends Happily
REYNECKE, CARL
Sonatine, Op. 127
REINHOLD
Coquetry
. . . . . .
Improm tu, Op. 28, No. 2 .
ROMANIELLO,
UIcI
Pene damore
Heart Yearnings
RUEINSTEIN, A.
Barcarolle, A Minor
Barcarolle, F Minor
. .
Barcarolle, Op. 50, No. 3 .
Barcarolle, G Major, No. 4
. .
Melody in F, . 3, No. 1
.
Valse Caprice,
11at Major .
S
SAiNT-SAENs,
C.
Romance sans paroles .
ScAnLA-m
Capriccio, Major .
Sonata, A Major
ScARAMUzzA, VINCENZO
Mazurka, Major _
ScHARwENKA, PHILIP?
Boat Song, Gondollied, Op. 63, No. 3
Menuetto, D Major . . . . . .
ScHARwENKA, XAVER
March, Op. 62, No. 1 . .
Polish Dance, Op. 3, No. 1
5. . .
Un Petit Ballet .
SCHUBERT, FRANZ
Impromptu, Op. 90, No. 1 .
Impromptu, Op. 90. No. 4 .
Impromptu, Op. 142, No. l
Impromptu, Op. 142, No. 2
Impromptu, Op. 142, No. 3
Menuetto, B Minor . . . . .
Moment Musicale, Op. 94, No. 3 .
ScHUBEnT-LrszT
Funeral March
Trauermarsch
Soire de Vienne, Major
Soire de Vienne, Minor
SCHUBERT-TAUSIG
Marche Militaire
SCHUMANN, ROBERT
Knight Rupert, Op. 68, No. 12
Merry Farmer, The . . . .
Nachtstck, Op. 23, No. 4 .
VOL.
PAGE
II
344
102
111
162
II
II
II
410
II
II
II
IV
IV
III
III
III
892
1263
21
117
576
3
VOI.. PAGE
1330
........ IV
391
<
ALPHABETICAL INDEX 0F '

Prelude and Fugue, A Minor.BAcH-LIszT
Prs de la mer
.ARENsKY
Promenade de la merveilleuse.BEEc
INDEX
GENERAL
GENERAL
392
ALPHABETICAL INDEx OF TITLES
T
Tabatire musique, Une, Op.
2
LIAnOw
Tango Burlesco, Op. 28 ...... LEVY
GUILMANT
Tarantelle
Theme and Variations, Op. 9,
TSCHAIKOWSKY
No. 6
PADEREWSKI
Thme Vari
PASTOR
Three Cuban Dances
To Spring, Op. 43, No. 6 ..... GRIEG
REBIKOEF
Trapeze, The
ScI-IUBERT-LISZT
Trauermarsch
.......
Trumerei, Op. 15, No. 7 ..... ScIIUMANN
Trumerei, Op. 9, No. 4 ...... STRAUSS
MOZART
Turkish March
From Sonata, Major
............
..............
.........
.........................
...................
.....................
................
.........
................
...............
Two-Voice Invention

VOL
IMG!l
1
11
11
662
558
III
....... IV
............ II
............. V
.......... II
..............
No. 1. BACH
..........
............
..............
IV
II
913
1138
452
410
1209
11
624
272
l293
11
579
U
Uncle Neds Story, Op. 25, No.
WILSON
1
From In Georgia"
..........................
...........
.......... I
........... 1
........... I
............ V
........... 111
I
.......... V
........ IV
.............. III
............ II
........... V
.........
.........
................
.........
.........
.........
...............
............
ARENSKY
Valse, .36, No. 7
CHOPIN
Valse, Op. 34, No. l
CHOPIN
Valse, Op. 42
CHOPIN
CI-IOPIN
RACIIMANINOFF
SPINDLER
Valse arienne
RURINSTEIN
Valse Impromptu
Major...LIszT
E-at
Valse-Caprice
Valse Mignonne, Op. 16, No. 2.ScII1'r
HANLEL
Variations, Major
The Harmonious Blacksmith
MEImELssoHN
Variations, Op. 82
Vision du monde ancien ......
Vogel als Prophet, Op. 82, No.
7
Sc.IUMANN
.........
............
.....
.............
..............
...........
..........
........
..............
...........
........
........
..............
.........
.............
..........................
.........
.....................
.......
IV
II
III
II
210
1221
440
683
496
II
210
582
II
496
V
I
129
303
Z
Zapote
Zortzico
.......................
.....................
PASTOR
ALBENIZ
............ II
........... I
III
TSCHAIKowsKY,
P.
Barcarolle, lune, Op. 37, No. 6 .
Chant sans paroles, Op. 2, No. 3 .
Song Without 'Ords
Theme and Variations, Op. 19, No. 6
W
Wchterlied, Op. 12, No. 3....GRIEG
LISZ'T
'Waldesrauschen
DVORAK
\Valtz, Op. 54, No. 1
BRAHMS
Waltzes, Op. 39
Warum? Op. 12, No. 3 ....... SCHUMANN
Watchmans Song, Op. 12, No.
GRn-:G
3
Whos Afraid? Op. 25, No. 2. .\VILSON
From In Georgia
ScHuMANN
Why? Op. 12, No. 3
Wild Horseman, The, Op. 68,
SCHUMANN
No. 8
Witches' Dance, Op. 17, No. 2.MAcDowELL
SCHUMANN, ROBERT
Norse Song, Op. 68, No. 14
Papillons, Op. 2 . . . .
Romanze, Op. 28, No. 2
. . .
Schlummerlied, Op. 124, No. 16 .
Soldiersy March, Op. 68, No. 2
Trumerei, Op. 15, No. 7 . . .
Vogel als Prophet, Op. 82, No. 7
Bird as Prophet
Warum? Op. 12, No. 3
Why?
Wild Horseman, The, Op. 68, No. 8
ScHUT-r, EDUARD
Etude Mignonne, Op. 16, No. 1 .
Reverie, Op. 34, No. 5 . . . .
Valse Mignonne, Op. 16, No. 2 .
SCRIABINE, ALEX.
Prelude, Op. 11 . . . . . . .
I
Prelude, for the Left Hand Alone .
III
SIBELIUS
Romance, Op. 24, No. 9
SILAs, E.
Gavotte, E Minor
II
SINDINO, CHRISTIAN
Frlingsrauschen
. . . .
Rustle of Spring, Op. 32, No. 3
SJOREN, EMIL
Eroticon, No. 2, D-Hat .
II
SMETANA, B.
Prelude
II
SMITH, ROY LAMoNT
Oriental Dance
SDERMANN, A.
Norwegian W'edding March . . .
- Swedish wedding March, No. 1, F Maj'or
v
SPINDLER, FRITZ
Valse arienne
STRAUSS, RICHARD
. . . . .
Reverie
II
Trumerci, Op. 9, No. 4
STRAUss-TAUSIG
Man lebt nur einmal
IV
Une Lives But Once
III
II
.......... II
........ I
..........................
INDEX
456
38
1275
II
322
609
111
913
WACHS, PAUL
March of The Flower Girls
WEBER, C. M. VON
Invitation to the Dance, Op. 65 .
Aufforderung zum Tanz
perptuel, Rondo from Sonata,
Mouemezndrt
\\"ILLIAMS, ALBERTO
Op. 39 .
Madrigaux,
Madrigals
WILSON, MORTIMER
Suite In Georgia
As the Sun Sets, Op. 25, No. 3 . .
On the Chattahoochee, Op. 25, No. 4
Uncle Neds Story, Op. 24, No. 1 .
VVhos Afraid? Op. 25, No. 2
WoLFF, BERNHARD
The Joyful Wanderer. Op. 173, No. 5
II
III
391
794
IV
1038
III
677
498
629
579
582
339
SUPPLEMENTAL INDEX OF GRADED STUDY MATERIAL

CONTAINED IN VOLUME V, NOT LISTED
IN GENERAL INDEX
ALPHABETICAL INDEX )F TITLES
.........................
..........................................
........................ CLEMENTI .............
.....................................
.Accidentals, or Chromatic
Agile Fingers
Andante
Voices
Answering
Signs
PAGE
2
............................................
Lw, JOSEF ...........

.........................................
.......... GADE, NIELs W. ......
.............. KULLAK, THEoDoR .....
........... BEVER, F .............
...........................
.................. LICHNER, HEINRICH
.......... REINHOLD, HUGO ......
............. FREDERIC, C. ..........
........................................
.................... BRESLAUER, EMIL ......
.............. HELLER, STEPHEN .....
.....................................
...................................
.......................
...........
..............
..........................................
..........................................
56
114
46
148
107
59
106
212
20
36
47
152
17
38
89
90
51
2
51
Exercises
Finger
Exercises
......................................
..........................
in 8th Notes ..........................
32
293
UndertheLindens
94
IntheMonthofMay
45
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
176
182
184
186
BERENs, H.
Study, Op. 61, No. 1
Study,Op.61,No.9
Study,Op.61,No.11
BERTINI, H.
Study,
Study,
Study,
Study,
Op. 29, No. 3

Op. 29, No. 6
Op. 29, No. 18
. .
Op. 29, NO. 22 (Arr. from)
BEYER, F.
Clown and Pantaloon
. .
Morning Song . . . . .
Round We Go . . .
The Whistling Farmer Boy
Three Little Duets
. . .
27
BURCMLLER, F.
13
, FRANZ
BREsLAUR, EMIL
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
. .
. .
. .
. .
. .
.
.
.
.
170
169
181
187
59
33
25
26
22
TheCuCkoO............47
Rondo alla Turca, Op. 68, No. 3 .
Study, Op. 100, No. 21 . . . .
.
.
.
.
.
.
130
64
26
8
31
28
35
4l
49
Finger
Two-Voice Invention, No.
1
241
29
99
Fair, The, Op. 101, No. 8 ........ GURLITT, CORNELIUS
Fairy March .................... FREDERIC, C. .......... 21
Fairy Polka, Op. 93, No. 3 ....... SPINDLER, FRITZ ....... 120
Finger Exercises in 8th Notes
BEAUMONT, PAUL
.....................................
..............................
..............................
..............................
.................................
................................................
....................................
.........................
....................................
.............................
..........................
...............................
Elements of Music
Exercise in Double Notes
Exercise for Crossing Finger
Over and Thumb Under
Har
Exercises for Elementary
mony and Arpeggios
Exercises for Extending the
Hand
Exercises for Finger Develop
ment and Control
Exercises for Moving the Hand
Exercises for Repeating Notes
with Same Finger
Exercises in Double Notes
Exercises in Interval Playing
Exercises in Moving Legato
Double Notes (Thirds)
ASimpleStory
D
Daily Round, The
Dance of the Clowns
Dancing Under the Linden Tree,
REINECKE, CARL .......
. 161
Dol ys Dreaming, Op. 202, No. 4.0EsTEN, THEODOR .....
.
FREDERIC,
C.
Dollys Polka .....
Dotted Notes
Dutch Dance
PAGE
I.
BACH
C
Cheerfulness, Op. 142, No. 9 .....
Childrens Ball
Christmas Tree, Op. 36
Clock, The, Op. 62
Clown and Pantaloon
Comparative Value of Notes
Contemplation
Coquetry, Op. 56, No. 3
Country Boys Song
Country Dance
Cuckoo, The
Curious Story, A .
ASCHER,
121
16
1, The
24
13
20
Andante..............121
CLEMENTE
M.
Sonatine, Op. 36, No. 1 .
110
CoNCoNE, G.
Study,Op.24,No.24
CRAMER, I. B.
Study, A Major
Study, B-flat
Study, C Major
Study, D Minor
.
. .
Study, F Minor
Study, F-sharp Minor
664
291
298
300
302
296
294
SUPPLEMENTAL INDEX
............... ..........................
128
48
Waltz_
from).
.
.
.
.
.
_
.
.
.
.
.
_
.
.
.
.
.
_
.
.
_
~
.
.
_
-
'
-
.
.
.
.
.
.
.
'
-
.
.
57
72
80
72
84
177
194
200
204
206
193
314
308
310
80
179
179
182
201
197
197
313
57
Key Signatures with Tonic Triads .......................
'
188
1'24
5701). . .
_ _ _
_ _ _
. . .
'
~
.
_
_
.
~
.
_
_ _
. .

. .
167
175
62
68
67
67
108
.
_
25
30
44
'
'
ga
74
74
'
'
.
_
.
_
.
_
'
.
_
.
_
'
.
_
'
'
_
'
'
_ _
Ong
ALimesong............2o
.
.
.
.
_
.
.
.
.
.
_
.
.
.
_
_
.
.
.
_
l
.
.
.
_
, NIELS W
52
Christmas
Tree, Op. 36
57
62
20
142
140
103
.....
TB.
Roundelay _ . _ _ . _
Country Boy's Song . . . . .
. . . . . .
.
Dollys Polka
Fairy March
. . . . . . . .
Five Little Recreations in Note Values
. . . . . . .
Graceful Dance
. .
. . .
Plaintive Mood
Round .
.
Merry
20
20
51
21
15
21
20
29
KULLAR,
...............
............. .......
'" .........................................
FREDERIC,
C. ..........
Plaintive Mood .................
Op. 96, No. ll. .....LoEscaHoRN, A. ......
Playing Ta
....... ...SPINDLER .............
Polonaise,
p. 93. No.
........................
Position at the Pianoforte
Scale,
The .............................
Practice of the
Little Waltz
Theme
EHMANT,
.................
'
5
19
57
96
100
20
60
93
17
33
_
e
itt
1
4 8 5
53
Op. 62, No.
" Th efe W as
FREDERIC, C.
.................................
",
B'
Study OP- 120, N0

(Adapted
. . .
Study, Op. 120, No.
_ _
Study_ _ 176, No_
_ _ _
Stud Op_ 176_ NO_9
Study, Op. 176, No. 13 . . .
study' Op' 176' No' 23 ' ~
Valse Bluette, Op. 272, No.
.
NOIC Writing PfaCtICC
J'
",
139
40
20
` '
~
J'
USSEK'
_
Rondo, Op- 20, N0
'
'
~
'L
15
16
28
'
N0 15
~
gp'
tugy'
t Y'
Study, OP-
8, g
21
...............................
Marks Used to Indicate Degrees
Force
............................................
of
Maypole Dance ........................................
Major .............. CzERNY ...............
Mazurka,
. ............
Menuett ........................ PLEYEL,
ARL ..........
A,
Dance,
. 12, No. 3...HEINs,
............ FREDERIC, C. ..........

Merry Roundelay,
Minuett, from Don Itian ......... /, W. A. ........
Morning Prayer, Op. 101, No. 2..GuRLn-r, CoRNELIUs
..................... .. ............
Morning Recreation
Morning Song ................ -, F. .............
Major and Minor Scales
DRINo, C. H.
t
e
15
l;
......................
................................................
.......................................
..........................
...........................................
HEINRICH
..............
Little
Inlependence
..................................
Pieceshfoli:I an
Between
....... /, HEINRICH ..
Little Rogue, Op. 77, No.
REINECKE, CARL .......
.....................
Song
Little
FREDERIC, C. ..........
Little Song, A. .................
..........
Waltz, .................
Iiglse ........................... .
Lines Above the Staff .. ..

Lines Above the Treble
Lesdgc'
t3
Ledger Lines Below the Stal
(Right Hand)
Ledger Lines Below the Staff
Little Canon
WoHLFAHR-r,
Little Dialogue, A
Ledger
..........................
K eybo ar, Th
2 6
.
.
.
.
.....
GUsrAvE
_
.
.MERKEL,
.
.
.
_
.
.
_
.
2...
.
.
.
_
.
.
.
.
_
. .
. .
. .
. .
'
~
. .
. .
.
.
.
. .
. .
_
.
.
.
.
Op. 31, No.
.
.
'
-
.
_
.
lolly Huntsman,
Juggler, The
12
25
32
12
11
. .
21
. .
31
' `
- P- 821 N - 22
Op. 821, No. 33 (Adapted
Op. 821, No. 35 . . .
OP- 821, N0 43 - . .
.
Op. 821, No. 76 .
Op. 821, No. 107 . .
Op. 821, No. 108 . . .
Op, 821 (Adapted from)
Major
_ _
t Y'
Study,
Study,
Study
Study,
Study,
Study,
Study,
122
.
.
_
.
.
'
.
.
'
-
.
_
.
.
.
.
_
'
16
98
38
45
293
..............................................
...................
..........
.........................................
...........
..........
.................
.....
.........................
_
Imitation
LAcoMRE, P.
Indian Dance
1 Garden
BEHR, FRANZ
1 the Month of May
Invention, Two-Voice, No.
....BACH
Invitation to the Dance (Simpliwem, C. M.
eed)
.
_
.
.
.
.
_
.
.
'
39
45
53
.
_
.
.
.
.
_
.
.....................
....................
Happy Hours
51
21
7 2
...........................................
................. FREDERIC, C. ..........
Grace Notes
Graceful Dance
19
24
Mazurka,
Major
Study_ Op_ 139_ No_
Study, Op. 139, No.
Study' - 139: NOStudy, Op. 139, No.
Study, Op. 299, No.
Study, Op. 299, No.
Study_ . 299, Na
Study, Op. 299, No.
Study, Op. 299, No.
Study Op 636 No'
Study, . 740, No.
Study, Op. 740, No.
Study Op ' 740 No '
15
@te
......FREDERIC,
PAGE
, C.
..................
..............
C. ..........
_First
We \_/_i_ol_et,
1
Value
...BEHR, F.
CoMPosERs IN ALPHABETICAL ORDER
PAGE
61
575, No.
_8
_Op
ALPHABETICAL INDEX or TIrLEs
394
144
SUPPLEMENTAL INDEX
ALPHABETICAL INDEX OF TITLES
CoMPOsERs IN ALPHABETICAL ORDER
Loss...............127
PAGE
3
Rhythm
DussEK
124
Rondo, Op. 20, No. 1
Rondo alla Turca, Op. 68, No. 3..BURCMULLER, FREDERIC.. 130
SCHMOLL, A.
Rose, Mazurka, Op. 50
92
..FREDERIC, C.
Round Dance
29
BEVER, F.
Round We Go
25
Russian Folk Song
58
..................................
............
...............
..........
..........
..............
..........
..................
.............
.............................
Morning Prayer, Op. 101, No. 2

The Fair, Op. 101, No. 8
. .
...................
HEINs,
.
.
.
.
.
.
190
198
CARL
HELLER, ST.
A Curious Story
100
'
152
178
196
HORMANN, HEINRICH
Little Rogue, Op. 77, No. 1
KHLER, L.
Study, Op. 50,
Study, Op. 50,
Study, Op. 50,
Study, Op. SO,
Study, Op. 60,
293
176
182
184
186
170
169
181
93
99
307
56
167
175
190
198
A Merry Dance, Op. 12, No. 3 .
116
17
164
37
187
64
66
291
298
300
302
296
294
72
80
72
84
177
194
200
204
206
193
314
308
310
313
80
179
179
182
201
197
197
74
74
188
62
67
67
68
.
.
HAsERT, R.
238
60
32
47
18
85
. 110
. 41
........
.....................
..............................
............
.......
.........
............
.................................
.........................
......... .
....................................
......................................
..............................................
.............................................
............................
.................
............
...............
............
...............
............
...............
...........
...............
............
...............
............
...............
...........
..........
........................
...............
..........
..........
...........
..............
................
...............
....................
...............
.................
...............
................
...............
...............
...........
...............
..........
...............
..........
...............
..........
...............
..........
...............
...........
...............
...........
...............
..........
...............
..........
...............
..........
...............
..........
...............
..........
...............
..........
...............
..........
...............
...............
..........
...............
...............
...............
.........
...............
..........
...............
.........
...............
.........
...............
............
...............
............
...............
............
...............
...........
.........
...........
............
..........
............
..........
............
........................
............
...........
............
............
...............
...........
...............
.
.
HABERRIER, E.
Study, Op. 59
S
Salterello, Op. 50, No. 19........SCHMOLL, A
Scales and Staccato
ASCHER,J
Simple Story, A
Skipping Rope Dance
Slow Trill Exercises
REINECKE, CARL
Sonatina, Op. 127 A
CLEMENTI
Sonatina, Op. 36, No. l
Song of the Hussars
Song of the Miller Maid, Op. 50,
ScHMoLL, A.
No. 6
Song of the Toiler
Special Exercises
Staccato
Studies in Scale and Arpeggio
Passages
Study (Two-Voice Invention No.
BACH
1)
BERENS
BERENS
BERENS
BERENS
BERTINI
BERTINI
BERTINI
Study, Op. 29, No. 22 (Arr.
BERTINI
from)
BURCMULLER
CoNcoNE
CRAMER
Study, Major
CRAMER
Study, B-at
CRAMER
Study, C Major
CRAMER
Study, D Minor
Study, F Minor . .. . . . . . . .L ...... CRAMER
CRAMER
Study, F-sharp Minor
CZERNY
CZERNY
CZERNY
CzERNY

CZERNY
CZERNY
CZERNY
CZERNY
CZERNY
CZERNY
CZERNY
CZERNY
Study, Op. 821 (adapted from)...CzERNY
zERNY
Study, Op. 821, No. 33-35 ....... CZERNY
Study, Op. 821, No. 35 (adapted) .CZERNY
CZERNY
Study, Op. 821, No 76
CZERNY
CzERNY
Study, Op. 821, No. 107
Study, Op. 821, No. 108
CZERNY
Study, Op. 8, No 1
DRING
Study, Op. 8, No. 2
DRING
DRING
DUvERNOY
DUvERNoY
DUVERNOY
176,
No. 23
Study, Op.
DUvI-:RNOY
Study, Op. 120, No. 5 (adapted
DUvERNoY
from)
DUvERNoY
50,
No. l
HASERT
Study, Op.
HASE'RT
_
PAGE
GURLI'I'r, CORNELIUS
139
K
No. 3
No. 4
No. 9
No. 10
No.
No.
No.
No.
No.
.
.
.
.
76
77
65
65
`
78
.
61
.
75
.
68
.
81
172
Once There Was a Little Princess, Op. 62, No. 1 .

The Clock, Op. 62, No. 2
. . . . . . . .
102
103
Study, Op. 157,

Study, Op. 157,
Study, Op. 157,
Study, Op. 242,
KRAUsE, A.
Study, Op. 2, No. 7
KULLAR,
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
3
8
11
10
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
L
LACOMBE, P.
Indian
Dance
98
LE COUPPEY, F.
168
176
LEMOINE, H.
Study, Op. 37, No. l
LIcHNER,
63
63
69
70
71
180
HEINRICH
Contemplation
LoEscHHoRN,
106
A.
Playing Tag, Op. 96, No. 11

. .
Tarantelle in
.
.
.
.
.
.
.
.
.
.
.
.
.
78
146
Lw, JOSEF
Cheerfulness,
Op. 142, No. 9
114
SUPPLEMENTAL
396
INDEX
............ HELLER ...............

........... HELLER ...............
................... HABERBIER
....KHLER
..............
......... ....KHLER ..............
......... ....KI-ILER ..............
......... ...KHLER ..............
.......... KHLER ..............
............ KHLER ..............
............ KHLER ..............
........... KHLER ..............
........... KIILER ..............
............. KRAUSE ...............
............ LE COUPPEY ...........
........... LE COUPPEY ...........
............ LEMOINE ..............
............ LEMOINE ..............
............ LEMOINE ..............
........... LEMOINE ..............
........... LEMOINE ..............
........... LEMOINE ..............
............ LoEsCHHoRN ..........
........... LoEscHHORN ..........
........... SCHUMANN ...........
and
...................................
.............. SMALLWOOD, WILLIAM..
.................... EHMANT, A. ..........

Study, Op. 59
Study, Op. 50, No. 3 .....
Study, Op. 2, No. 7
Study, Op. 20, NO. 13
Study. Op. 68, No. 14
Succession of All the Keys
Their Relationship
Sweet Violet, The
Swing Song
PAGE
178
196
.................
..............
.........................
..........
........
.............
...............................................
..............
55
43
146
155
30
19
22
5
39
.............. BEAUMONT, PAUL .....

...........................................
Under the Lindens

Use of Treble and Bass Clefs,
The
94
7
V
Valse
Valse
Bluette, Op. 272, No. 1....DUvERNoY,

J. B.
Mignonne, Op. 78, No. 1..STREABEOG, L.
......
.........
108
104
W
C Major ................ CZERNY ...............
Whistling Farmer Boy, The ..... BEYER, F. ....... . .....
Waltz,
MERKEI., GUsTAvE
Jolly Huntsman,
Op. 31, No. 2
57
26
128
from Don Juan
MLLER, A. E.
68
81
172
168
174
63
63
69
70
71
180
78
202
82
PAGE
MOZART
Minuett
LoEscHHoRN, A. ......
Tarantelle in A
Tech. . Prep. to the 3d Grade..ScHMIDT
Theme
EHMANT, A. ..........
MLLER, A. E.
Three Little Duets (4 Hands) . ...BEYER, F
Triplets
Two Little Voices
WORLEAHRT, HEINRICH.
19
OEsTEN, THEODOR
Dollys Dreaming,
PLEYEL, J.
Menuett
Op. 202, No. 4 .
REINEcIcE, CARL
Dancing Under the Linden
Little Song.
. . . .
Tree, Op. 161
SCH MITI, A.
Op. 16, Technical
3d Grade
Exercises
Preparatory
155
ScHMoLL, A.
Rose Mazurka, Op. 50 . . . .
Salterello, Op. 50, No. 19
. . .
song of the Miner Maid, . 50, Nof
. . .
Waltz
SMALLwooD, WILLIAM
The Sweet Violet
116
152
43
SPINDLER, FRITZ
Fairy Polka, Op. 93, No. 3 .
Polonaise, Op. 93, No. 1
STREAIIEOG,L.
Valse Mignonne,
to the
120
140
104
WEBER, C. M. voN
(Simplified)
118
WOHLFAHRT, HEINRICH
A Little Dialogue .
Two Little Voices
Op. 78, No.
.
.
.
.
.
.
28
39
l,
@A
Yc .
..fylakg .O
ggg
..
II
II
V
V
V
V
..........
1.
................
............
..........
..............
......... III
..........
............
III. INTERMEDIATE
...........
....................
....................
................
............
...........
.............
......
....................
...................
............
........
............. V
......... II
.......... V
.......... II
Norse Song, Op. 68, No. 14. SCHUMANN

GRn-
Watchmans Song
Fr Elise
BEETHOVEN
Coquetry
REINHOLD
A Sad Story Which Ends
. .REBIKoI-F
Happily
Knight Rupert
The Mill ......
Moment
{qoyous
octurne No. V.
FII-1D
Barcarolle,
. 19
GADE
Menuetto, E- at
MozART-ScHULHOEF
Mazurka, F-sharp Minor ..... CHOPIN
Polonaise, A-flat Major
CHOPIN
Valse Arienne, Op. 148 ...... SPINDLER
Menuetto
SCHARwENRA ......
Song of the Ploughman ...... BACHMANN
Saltarello, Op. SO, No. 19..... SCHMOLL
Eln Dance, Op. 12, No. 4....GRIEG
Madrigal No. II, Allegretto
rubato
WILLIAMS
Prelude,
Minor
SMI-:TANA
II
.............. V
.............. V
V
............
............
........... V
V
........
.......... V
.............. V
......... III
.......... II
PAG:
102
103
1
'.
............
.........
........................
.............
..............
.........
............
....................
................
.................
....................
.................
..............
.........
I I
................
....................
...........
...........
...........
...........
...........
.........
..........
..............
..........
........
..........
............
...........
..........
..............
......... III
............
...........
..........
............
........
11
..........
................
....................
V
VV
VV
V
I
V
II
II
II
...................
...................
....................
...............
...............
11
.............
............. '
..........
........
.........
..........
..........
............
............
..........
............
...........
.........
............
............
........
...........
...........
.............
The Joyful Wanderer

WOLFE
BERG
Plaintive Chanson
..... LACOMBE
Evensong, Op. 140, No.
Good Night, Op. 96, No. 12...LOESCHORN
First Heart Throbs, Op. 50...EILENBERG
Sonatine, Op. 127
REINECKE
Dancing Under the Linden
REINECKE
Tree
March of the Flower Girls...WACHs
OESTEN
Dolly's Dreaming
SCH .
Rose Mazurka
In the Merry Month of May. .MERREL
GURLIIT
Morning Prayer
BEAUMONT
Under the Lindens
PLEYEL
Menuett
KHLER
Polka
Soldies March, Op. 68, No. 2.5CHUMANN
Indian Dance
LACOMBE
The Fair
GURLITT
Merry Dance
HEINS
............
.......................
............
...............
.............
...........
.....................
.......................
................
....................
.............
EASY
........
...........
. MODERATELY
V
............................
....................
........... V
..............................
V
................................
V
...............................
...........
.......
.................................. _
.....
........... V
........... V
...............
.........
........... V
........... V
.........
..............
........... V
...........
.................
.............
...............
..............
........... V
.............
....... V
............
...............
........... V
........... V
......................
............ V
.............
............. V
..............
....... V
............
.......... V
..................
............
........ V
...........
........... V
.................
..............
.......
..................................
V
...............
V
.........
....................................
............ V
.....................
............
.....................
V
..................................
V
..............................
........
............. V
............ V
......................
Between the Hands

Five Little Recreations in Note
FREDERIC
Values
Morning Recreation
The Daily Round
Song of the Toiler
MLLER
Maypole Dance
FREDERIC
Plaintive Mood ..
FREDERIC
A Little Song
FREDERIC
Country Boys Song
FREDERIC
Merry Roundelay
FREDERIC
Graceful Dance
FREDERIC
Fairy March
BEYER
Round We Go
EHMANT
A Little Waltz
The Whistling Farmer Boy BEYER
A Little Dialogue
WOHLEAHRT
FREDERIC
Round Dance
EHMANT
Theme
AscHER
A Simple Story
BEYER
Morning Song
...... W'oHLEAHRT
Two Little Voices
Major...MozART
Menuet and Trio,
Little Song
REINECKE
The Sweet Violet
SMALLwoOD
Major.MozART
Minuet and Allegro,
EHMANT
Swing Song
In the Month of May
r.BEHR
Ball
Childrens
Skipping Rope Dance
.BLANCARD .
Impromptu, E-tlat Major.
.FREDERIC ..
Dollys Polka
Dutch Dance
Mazurka
CZERNY
Waltz
CzERNY
Peasants Polka
Russian Folk Song
BEVER
Clown and Pantaloon
MOZART
Minuet
From Don Juan"
PAGE
VOL.
CoMPosn
TITLE
Little Pieces for Independence
TITLE
CoMPosER
VOL.
Once There Was aLittle
V
Princess
KULLAK
V
The Clock
KULLAK
Berceuse
ILYNSKY
Valse Mignonne, Op. 78, No.1.STREABBoG ..........

11
....... HANDEL
Largo
From Xerxes
V
LICH NER
Contemplation
V
Valse Bluette, Op. 272, No.
.DUVERNOI'
Sonatina, Op. 36, No.

...... CLEMENTI
Cheerfulness, Op. 142, No. 9. . .Lw
V
Song of the Miller Maid ..... SCHMOLI.
V
The Merry Farmer
SCHUMANN
II
The Trapeze
REBIKOEE
Invitation to the Dance (Sim
V
WEBER
plified)
V
Fairy Polka
SRINDLER
V
Andante
CLEMENTI
From Sonatina, Op. 36 No'.
Major
Minuet,
BACH
Madrigal No. IV, Cantabile...WILLIAMs
V
Rondo, Op. 20, No.
DussEK
V
Loss
GURLITT
Prelude, Op. 11
SCRIABINE
V
MERKEL
Jolly Huntsman
V
The Wild Horseman
SCHUMANN
.......
V
alla
BURGMLLER
Turca
Rondo
Little Girl Implores Her
II
Mother
REBIKoI-'r
Six Easy Variations on a
V
Swiss Song
BEETHOVEN .........
V
Little Rogue
HORMANN ..........
Polonaise, Op. 93, No.

...... SPINDLER
Andante
BEETHOVEN .........
1`romthe Kreutzer Sonata
V
LoEscHoRN .........
Playing Tag
V
GADE
Christmas Tree
Tarantelle,
Minor
LoEsCHoRN .........
Madrigal No. III, Moderato..WILLIAMs
V
March
SCHARWENRA ......
V
Waltz
SCHMOLL
V
A Curious Story
HELLER
VERY EASY
I.
GRADED INDEX
104
472
106
108
110
114
116
117
410
118
120
121
123
682
124
127
GRADED INDEX
398
TITLE
VOL.
COIrrOsE
.............. BEETHOVEN ........

.......
Mazurka, Op. 10, No. 3 ....... MoszkowsIcI
Prelude, A Major ............ CHOPIN ............
Petit Bolero ................. RAVINA ............
Prelude, B Minor ............ CHOPIN ............
Swedish Wedding March, No.
I, F Major ................ SDERMANN ........
A Sketch ................... DUBOIS ............
Gavotte, G Major ........... BACH ..............
From French Suite No. V
Gavotte, E Minor ........... SILAS .............
Berceuse, D-flat ............. KARGANOFF ...... y..
Trumerei ................... SCI-IUMANN ........
Un Petit Ballet .............. SCHNECKER ........
Slumber Song ............... SCHUMANN ........
..........
Impromptu, Op. 142, No. 2....SCHUBERT
Scarf Dance ................ CHAMINADE ........
.............. HAYDN ............
Ochsenmenuett
Au Matin ................... GODARD ............
The Nun .................... COUPERIN
Turkish March .............. MOZART ............
From Sonata in A
Menuett Trio .............. SCHUBERT ..........
Bagatelle, Op. 33, No. 6 ...... BEETHOVEN ........
......
Spring Song ................. MENDusSOHN
Valse, Op. 64, No. 1 ......... CHORIN ............
Nocturne, E-flat, Op. 9, No. 2.CHOPIN ............
Two-Voice Invention No. I ..BAcH ..............
Poupe Valsante ............ POLDINI ...........
The Music Box .............. LIADow ............
Picture of an Ancient World.RI-:IzII<orI` ..........
Madrigal No. I, Andante Es
.........
pressivo ................... WILLIAMS
.......
Norwegian Wedding March SDERMANN
Prelude, C Minor ............ CHOPIN ............
Cradle Song ................ KJERULE ...........
Berceuse .................... LIADow ............
Cuban Dances ............... CERVANTES
No 3; Pst! .................................
Six Variations
................
No 1; La jalouse
No. 10; Amitie
No. 7; Assai moderato
No. 4; Capriccioso
No. 17; Zigs-zags
No. 2; Les tres coups
No. 5; No llores masl
No. 15; Cri-cri! .
No. 9; Quasi Lento
No 14; Improvisada
No. 18; Ainsi-soit-il!
No. 13; Comodo
No. 11; Allegretto risoluto`
No. 12; Si!
No. 8; Porque, eh?
No. 6; Veille Funbre
No. 16; Lclat de rire
DVORAK
Humoreske
...........................
......................
...........................
............................
.......................
.......................
...........................
.........................
........................
........................
.............................
...................
.................................
..........................
........................
.......................
..................
.......... HARERRIER .........

.......... GRIEG ..............
From Peer Gynt"
Balletto ..................... MARTINI ...........
Tarantelle
................... GUILMANT .........
The Angelus ................ LACOMBE ...........
En la Playa ................. DE BLANCK ........
.................... SCHUMANR ........
Warum?
Allegro ...................... BEETHOVEN ........
A Flower of Spring
The Death of Ase
From Sonatina, D Major

March of the Little Tin Sol
PII-:RNE
iers
Waltz, Op. 39, No. l,
BRAHMS
.
sostenuto
ROMANIELLO .......
Pene d'amore
WILSON
Sets
Sun
As the
From In Georgia"
GRIEG
Beside the Cradle
Consolation, Song Without
MENDELSSOHN ......
Words, NO. IX
Waltz, Op. 39, No. 2, Grazioso.BRAHMs
......................
......... ........
...............
.............
...........
............
............
...........
...........
..............
V
V
II
II
V
II
II
II
II
II
PAGE
242
249
252
360
251
253
501
256
357
602
480
V
V
V
PAGE
419
III
II
II
685
426
508
III
II
512
II
III
II
687
....... SAINT-SAENS ...... II
489
IV. ADVANCED
V
V
V
V
V
V
II
11
III
II
II
I
I
III
III
III
III
III
III
III
III
III
III
III
III
III
III
III
III
III
III
II
1I
II
II
II
II
II
II
I
414
II
II
423
498
II
374
II
376
........... III
Vol..
11
............ BERG ............. II

............... CHOPIN ............ I
......... PASTOR ............
II
Pia ........................................
II
Mamey ......................................
II
Zapote ......................................
Waltz, Op. 39, No. 6, Poco
................ BRAHMS .......... III
scherzando
Funeral March of a Marion
II
ette .................... . . . GoUNoD ...........
II
Slavic Dance, . 46, No. 2. ...........
Waltz, Op. 39,
o. 7, Alla
Zingara
................... BRAHMS ........... III
Serenata, Op. 15, No. l ....... MoSzKowsKI
...... II
I
Bird as Prophet .............SCHUMANN ........
II
Gavotte, G Minor ........ ....BACH ..............
Gavotte, D Minor ............ BACH ..............
II
Waltz, Op. 39, No. 8, Moder
ato ............ .. .......... BRAHMS ........... III
II
Romance, Op. 2 .
.. RATP
II
Morning ..................... GRIEG
From Peer Gynt"
Les Nereides
..... ........GRAY .............. II
............ II
Etude Mignonne .............ScI-1'1r
II
Gypsy Rondo ................HAYDN ............
From Trio No.
.......... II
LaCoquette .................BoRowsK1
II
Chaconne .............. . ..... DURAND ...........
MENDELSSOHN
..... . I
........
Without
Words
Song
........... I
Hungarian Dance, F Major. BRAHMS
Waltz, Op. 39, No. 9, Molto
espressivo ................. BRAHMS ........... III
I
Hungarian Dance, E Major...BRAHMS ...........
I
Hungarian Dance, G Minor...BRAEIMS ...........
Waltz, Op. 39, No. 10, Moder
ato assai .................. BRAHMS ........... III
, A Major ....... . ..... DvoK ........... II
II
Eroticon No. II, D-flat ....... SJGREN ...........
II
Chant sans paroles .......... TSCHAIKOWSKY
II
Pome Erotique ............. GRIEG ..............
II
Nachtstuck, Op. 23, No. 4....SCHUMANN
II
Moment Musical, F Minor. .. .SCHUBERT ..........
....... II
..CHAMINADE
The Flatterer ..........
I
Nocturne, Op. 15, No. 3 ....... CHOPIN .. ..
I
Nocturne, Op. 54, No. 4 ....... GRIEC ............
I
Zortzico ................. . . . .ALBENIZ ...........
I
Serenata Romanesca ......... FERRATA ...........
II
Zephyrs ......... JENSEN ............
Murmuring
I
Adagio .................. . . . .GALUPPI ...........
From Sonata, D Major
I
Spirituoso e staccato ......... GALUPPI ...........
V
V
III
COMPOSER
................ RUBINSTEIN ........

................. BRAHMS ...........
.......... NICOD ............
..................... SCHTr ............
...................... BRAHMS ...........
............. SCHTT ............
.............. GRAY ..............
....................... BRAHMS ...........
.................. SCHARwENKA ......
Bouquet of Roses
Prelude, D-at
Three Cuban Dances
II
TITLE
Melody in F
Waltz, Op. 39, No. 3, Andante
espressivo
Lied der Sehnsucht
Reverie
Waltz, Op. 39, No. 4, Mod
erato
Valse Mignonne
Un Fte en Et
Waltz, Op. 39, No. 5, Espres
sivo
Boat Song
Romance sans paroles
From Sonata, D Major

PADEREwsIcI
Minuet, G Major
PADEREWSKI
Melodie, G-flat Major
Norwegian Bridal Procession..GRIEG
ELCAR
Salut dAmour
La Promenade de la Merveil
BERGE
leuse
GRIEG
Anitras Dance
From Peer Gynt
In the Hall of the Mountain
RIEG
King rom Peer Gynt
............
.......
...............
......................
..............
.......
..............
.............
.............
.............
II
I
II
II
II
......................
.............
II
........
21
452
454
456
I
428
551
432
458
461
690
638
378
572
691
GRADED INDEX
VOL.
COMPOSER
TITLE
I
Mazurka, F sharp Minor ..... CHOPIN
I
Impromptu, Op. 28, No. 2.. .REINHOLD
I
......
REBIKOI-F
Devils
are
Amused
The
Polish Dance, Op. 3, No. l...SCHARwENKA ......
Prelude, C Sharp Minor ..... RACHMANINOFF
MAcDOwELL
Scotch Poem
I
DEBUSSV
Reverie
STRAUSS
..
Reverie. Op. 9. No. 4
Romanze, F-sharp
SCHUMANN
WILSON
On the Chattahooche
From "ln Georgia"
I
Mazurka, G Major
CHOPIN
I
CHOPIN
BEETHOVEN
Adagio
From Sonata, Op. 2, No. 3
Impromptu, Op. 90, No. 4 ..... SCHUBERT
I
Funeral March
BEETHOVEN
From Sonata, Op. 26
V
BEETHOVEN
Allegretto
From the Moonlight Sonata
Prelude
HANDEL
From Suite, D Minor
Prelude, A-Hat
I
CHOPIN
11
Spring-Dawn
MASON
Double I
HANDEL
From Suite, D Minor
Allegro
BEETHOVEN
From Sonata, Op. 2, No. 3.
Capriccio, E Major
SCARLATTI
Sonata, A Major
V
SCARLATTI
Courante
HANDEL
From Suite, D Minor
Caprice, Op. 49
HUMMEL
Intermezzo in A Minor ...... BRAHMs
I
Impromptu, B-flat Major, Op.
142, No. 3
SCHUBERT
Allemande
HANDEL
.
From Suite, D Minor
Barcarolle
V
TSCHAIRowSKY
From The Seasons"
To Spring
V
GRIEG
Menuet lantique
V
PADEREWSR'I ........
Air
HANDEL
Variations, E Major
V
HANDm.
The Harmonious Blacksmith"
V
Spinning Song
MENDELSSOHN ......
Barcarolle, F Minor
I
RUBINSTEIN
.......
Double V
HANDEL
From Suite, D Minor
Barcarolle, G. Minor
I
RUBINSTEIN
Barcarolle, Op. 10, No. 3 ..... RACHMANINOITI-`
I
Double
HANDEL
From Suite, D Minor
I
RACHMANINOEF
Allegro con brio
BEETHOVEN
Rkoczy March
LISz'r
I
Double IV
HANDEL
From Suite, D Minor
RUBINSTI-:IN
I
Barcarolle, G Major
On Wings of Song
I
MENDELSSOHN-LISZT
Berceuse
HENSELT
Double
HANDEL
From Suite, D Minor
Adagio sostenuto
BEETHOVEN .........
V
From Sonata quasi una Fantasia, Op. 27, No. 2
Uncle Ned's Story
WILSON
From In Georgia
PAGE
52
III
140
995
111
673
............
.........
..........
................
......................
.........
...........
.........
..........
..........
......................
..............
...................
.....................
..............
................
....................
......................
..........
............
....................
..............
.......
...........
.........
........
...........
............
............
........
..........
........
........
...........
............
............
...........
........
.........
.........
...........
..........
...........
..........
.......
.................
...................
...................
...................
..............
...........
.........................
...........
.........
............
..............
.........
...................
...........
.........
.......
II ...................
...........
.........
.............
........
.............
..............
..................
............
..........
.......
..........
....................
..........
II ...................
..........
............
..........
............
Mazurka, Major ........... SCARAMUzzA
......
Presto
................... ...HANDEL ...........
............
Oriental Dance .............. SMITH
Capricho, D Minor .......... BLANCO ...........
Serenata, E Minor ........... BLANCO ...........
Fugue ...... _................. HANDEL ...........
From Suite, D Minor
Intermedio, E Minor ........ BLANCO ...........
Whos Afraid? ............. .WILsoN ...........
From In Georgia"
II
III
II
II
II
II
III
II
III
III
III
II
III
III
II
III
III
605
999
620
66
624
626
629
70
74
842
593
83
360
982
518
317
988
693
524
338
344
98
102
111
829
III
120
993
III
124
129
135
991
356
579
150
156
582
III
II
...................
..........
assai ................
Minor
La Fileuse
Allegro
l`romSonata, Op. 2, No. 3
DIFFICULT
COMPOSER
Vol..
PAGE
............. V
I
BEETHOVEN ........ III
HAYDN
............
............
..........
...........
..............
...........
............
.......... III
........... III
......... III
Valse, C-sharp Minor .. ......

111
I
Nocturne, F Major
CHOPIN
SIBELIUS
I
Romance
DALBERT
I
Gavotte and Musette
Mazurka, E-at
LESCHETIzKY .......
11
II
LEVY
Tango Burlesco
Capriccio, F-sharp Minor ....MENDELSSOHN
..... I
Gigue
GALUPPI
I
Nocturne, Op. 27, NO. 1..... CHOPIN
I
Minor,
C
Impromptu,
Op. 90. .SCHUBERT
Rustle of Spring
SINDING
Romance, G-Hat Major ...... GRNFELD
The Maiden's Wish
CHOPIN-LISzT
...... I
Gavotte
GLUCK-BRAHMS
I
From Iphigenie in Aulis
..........
....................
........
..............
.............
.......................
.............
..........
.....................
Fugue, Minor ............. HANDEL ........... III
Caprice la Scarlatti ........ PADEREwSRI ........ 111
Basso ostinato, Op. 5 ........ ARENSKY .......... 111
Impromptu, F Minor; Op. 142,
No. l ..................... SCHUBERT ......... III
Polonaise, Op. 40, No. 1 ...... CHORIN ............
I
Largo i allegro .............. BEETHOVEN ........ IV
........... ........
........ IV
...........
....................
.......
........ I
...... II
............. III
.......... III
Adagio ..
BEETHOVEN
.
Andante, F Major
BEETHOVEN
Etincelles
MoszkowsKI
WEBER
By the Sea, Op. 52, No. 5 . ...ARENSRY
VI. DIFFICULT
.............
....................
Papillons, Op. 2
SCHUMANN
Automne
CHAMINADE
Con vivacta e sempre con
sentimento ed es `ressione...BEETHOVEN
Minor, Op. 90
From Sonata,
Non troppo vivo e cantabile
assai
BEETHOVEN
From Sonata, Op. 90
......................
III
II
MODERATELY
TITLE
322
328
333
989
III
III
V.
399
........
....... 111
........ IV
........
IV
..................... ScRIABINE .........

......... CHOPIN ............
........... LISzT .............
Joys .................... CHOPIN-LISzT ......
Rondo Capriccioso
.......... MENDELSSOHN .....
Berceuse, Op. 57 ............. CHOPIN ............
Etude, C Minor ............. CHOPIN
...........
III
III
Prelude for the Left Hand

Alone
Liebestraum No. 3
Soire de Vienne, A Major...ScHUBERT-LISzT

Soire de Vienne, A Minor...SCHUBERT-LISzT
Valse Impromptu
LISzT
Theme and Variations, Op. 19,
No. 6
TSCHAIKowsxV
La Romanesca
LISzT
Impromptu, F-sharp Minor ...CHOPIN
Polonaise, Op. 40. No. 2 ...... CHOPIN
Variations, Op. 82
MENDELSSOHN .....
Etude, C Major
RUBINSTEIN
Scherzo capriccio, F-sharp
Minor
MENDELSSOHN ......
Valse, Op. 42
CHOPIN
Witches Dance
MAcDOwELL
.......
Valse, Op. 36. No. 7
ARENSRV
CHOPIN
Capriccio, B. Minor
BRAHMS
CHOPIN
Rhapsodie, B Minor
BRAHMS
Fantasia, C Minor
MOZART
............
.....................
..............
...........
............
....................
................
..............
..........
.......
.........
..........
.........
..........
.............
III
III
III
V
11
III
III
III.
III
.............. III
........... III
I
....... III
III
............ I
I
........... I
............ I
........... III
............ III
........... IV
............ IV
1070
244
562
802
GRADED INDEX
400
TITLE
COMPOSER
BRAHMS
Rhapsodie, G Minor
WEBER
Mouvement Perpetuel
Barcarolle, A Minor .....
. HOPIN
Ballade, A-at Major ..
LISZT
Un sospiro, Etude .....
CHOPIN
Nocturne, D-at
PADEREWSKI
Thme Vari
Valse Caprice, E-flat Major...RUBINsTEIN
Nocturne, C Minor
Etude, C Minor, Op. 25, No.

CHOPIN
12
BEETHOVEN
Presto agitato
From the Moonlight Sonata
CHOPIN
Ballade, G Minor . . . .
.........
.......
.........
................
..........
........................
...............
........
VOL.
........... IV
............. IV
........ IV
IV
IV
............ IV
....... IV
........ IV
............ IV
............ IV
........ V
............ IV
PAGE
1030
1038
1052
1109
1122
1132
1138
1150
1161
1167
362
1175
VII.
VERY DIFFICULT
TITLE
COMPOSER
VOL.
Scherzo, C-Sharp Minor ..... CHOPIN
IV
Funeral March
SCHUBERT-Liszt'
IV
Waldesrauschen
LISZT
IV
Gnomenrei en
LISZT
IV
Polonaise,
Major
LIszT
IV
Marche Militaire
SCHUBERT-TAUSIG .. IV
Man lebt nur einmal
STRAUSS-TAUSIG
IV
Hungarian Rhapsody, No. VI.LIsZT
IV
Hungarian Rhapsody, No. X..LISZT
IV
Hungarian
Rhapsody, No.
. XIII
LIszT
IV
Prelude and Fugue, A Minor. .BACH-LISZT
........ IV
..............
.............
...............
..........
............
.........
......................
............
..............
..............
..............
..............
..............
..............
PAG!
1190
1209
1221
1234
1245
1263
1275
1293
1304
1317
1330
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Modern Music and Musicians, Edited by Paderewski

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Modern music and musicians ... / editor-in-chief, Louis C. Elson.

Also including almost the entire Century library of music, edited

Public Domain, Google-digitized

NOTICE:Returnor renewall Libr

UNIVERSITYOF ILLINOIS LIBRARY

ALMOST THE ENTIRE

CENTURY LIBRARY OF MUSIC

AND ALL OF THE WORKS CONTAINED

THE ONE HUNDRED GREATEST COMPOSITIONS

GENERAL AND GRADED INDEXES

THE UNIvl-:RslTY SOCIETY, IN1;

Elementary Exercises for Beginners

Second Grade Studies

PIECES FOR THE SECOND GRADE

Morning Prayer, Op. 101, No. 2

The Fair, Op. 101, No. 8 Merry Dance -

Op. 68, No.

Op. 26, No. l

Song of the Miller Maid

Invitation to the Dance (Simplified)

Andante, from Sonatine,

Rondo, Op. 20, No. 1 Loss - Huntsman

The Wild Horseman, Op.

Rondo alla Turca

Six Easy Variations

Curious Story - - - - Technical Exercises Preparatory

PIECES FOR THE THIRD GRADE

Knight Rupert, Op. 68, No.

No. V, B-flat Major

Song of the Ploughman

Six Variations, G Major

Fourth Grade Studies

PIECES FOR THE FOURTH AND FIFTH GRADES

June; Barcarolle, from The Seasons

Op. 57 - - - - - - Sonata quasi una Fantasia, Op. 27, No.

Andante with Variations,

Elementary Exercises for Beginners

Below the staff;

Learn the notes, and their location

EAbove the staff;

BASS or F clef usually employed for Left Hand

COMPARATIVE VALUE OF NOTES

Copyright 1.912, by The liversty ,

TREBLE or G clef usually employed for Right Hand

Thin. y' second

Dot after Rest

ACCIDENTALS, or CHROMATIC SIGNS

literally, playl next key above.

Asharp Bsharp Csharp Cflat Dflat

Esharp Fsharp Gsharp

Aflat G Gflat F E Eilat D Dilat

KEY SIGNATURES WITH TONIC TRIADS

Cmnjor Aminor Gmajor

the Time Signature.

the value of the note that

counts, each count the value

indicates that whatever stands under, or over it, is held

of the note Or rest.

recurrence of accents, thus establishing a sense ofregular pulsation

the flow of the musical thought or expression.

Time without rhythm conveys

the length of the notes or counts

to certain tones in playing.

Natural accent falls upon the is! and