hanon for the accordion book 1 . 1-2

To rhts principle we have conformed in these books, The studies are transposed to various keys, not

only to break the monotony of the key of C, but to give the player a mastery over the bIack keys not

posslble in the original form, - an innovation in Hanon. The left hand has been arranged in

strictly accordionistic manner, embracing the different technics from sim pie bass and chord accorn-

paniment to difficult synchronizing of the hands in contrapuntal formo

In hts advice to students. Hanon suggested the mastery of every study by spending a week on each,

always returning to exerci se No. 1 and eventually going through the entire book without a stop as a

daiIy drill in technical development. The difficuIties are so presented that each successive study

offers a new and interesting problem without the monotony and fatigue of useless repetition. When

mastered, the entire book may be played in about one hour and wilI be found invaluable also to

teachers and professionals whose practise time is limited.

The aim of every modern accordionist is to play with a Aawless technic and to achieve that perfec-

-tion in as short a time as possíble. When Hanon wrote his celebrated studies, it was consídered

a natural procedure to practise approximately ten years before being able to play any piece of even

rnedíum difficulty. The science ol pedagogics, in keeping with the modern tempo, has attempted to

eliminate useless drudgery and monotonous repetition as much as possíble consistent with sound,-musical training.

The perseverance and courage necessary to become a great artíst is consíderahly aíded by inter-

esting studíes. In presenting this book, we believe we have added a new chapter to the progress of

accordíon literature and a great aíd to ultimate artistry.The Publishers

The keyhoard touch and position of the right hand

It is advised that the player employ alI varieties of touch and dynamtcs throughout the book. AIso

graduated nuances (crescendo anddiminuendo wirhin one measure, within two measures, etc.) for

the development of style and artistry. Vary the touch for each exercise, ~or instance:

No. 1, Íegato, the absolute binding of alI notes.

No. 2. staccato, the crispo light touch.

No. 3. leggiero, the enunciated touch between Íegato and staccato.

O. 4. martellato, the 'hammered' stroke.

The position of the right hand is haIf dawed. the approximate form the hand would be in grasping

a base-ball.

At the first tempo (M.M. 60) retake the beIlows every two Q~rs, always at the beginning of the

measure. When the faster tempos have been reached, retake the bellows every four measures.

4 "Al\IPCO"HANONBook ~o 1

ACCORDION

~I.M. J : 60 -108Re pe at this me a sur e untilthe fingers are fluentin the musical form

Special AMPCO arrangernent byALFRED d'AUBERGE

1

fl 5 ~ 1 3 2 1 2 -~ -1 2 3 ,I 4 3 2 1 1 2

· ·· ·r-. ..- • I ---mf Pu 11 Close -i.mjl e ~• I ( ~' > -;;:

i. ·. ·· ·~ :J. -; 7 •• 4- • • 24

5 1 2

3

~ •• 1 2_.~._, ••2 _ • _ .•

1 2. - 1 2 .- 1 2 _ .'~._ 1 ~. 1.•. ~ _

I, t ? :=- ) ir \ » 1 ,/ -\~

\ -

·4 2 ~ ~ ~ .- ••• ••• • •- - <\

54 5~ .fI- •• \ _.~~.:.- 5 ~ 5'._.~... ~~.- 5_. ~- - • 4 4

~ (- , - ,- \ iiiI"""'"- .- - -} -" r··

7 ~ :J. ~ " 4 • •- 2 'I

5fl ~ ......:...... , 5-!.... s...!.... 55 4 ~ 1

j ··• --=:::I ===== • •••• ._." .•. I~/ - ~ Repeat D.C.~ j· ·· ·4- •• 7f T :J. :;t " ,

2 -4-~ ~ 3 3 \

Each exercise has for it's airn, the mastery of a spec if'ic di ff icul'ty, The player is earn~s~ly adv~sedto mastcr each study befcre progressmg to the ncxt. Thr oughout the book, the repet í tio n slgnon the second Iast measure indicates a D. C. from the first mcasure.7l'7-46

Ent ir e Book Copyright 1943 by ACCORDION MUSIC PVBLISHlr-;G CO.,46 Greenwich Ave.jNew York,N.Y.l ntcr nat ional Copyright Secured Made in C.S.A. AlI Rights Reser vcd

5

This study given A minor l:armonization by additíon of the Arnatural ) minor scalc in the Ie f'thand. I

I

íRepeat many times forfluency in the form) 1 1 2 5

2

~ 2 5 ~ 3 1 5 43'1 3 2z ~

1 '132 ~ 51 ,

· ·I · ·, -41'- ..mf ••.......

(

II Sempre i3.S.I . · ·· ·

~ ~~ ~ ~1 -:;t ~ -:;t ••• ••••••••• •• ..•. ..•2 3-2 3 '1

5 5 55 5

2~ ___ 2 ._ • :. :. fI-.,. -.:f:. fI. •.~ 1 2 ~ 1 2 ._ 12#-_ - 1 --- 1 _;;.. '.t •••••••• •••• -·· .. .. • - I, -4 2 3 4 2

5 5 5fl ~~1

.....•.. j!:2 •• __ 2 1 5 5--- .• 1 • • .2 1 • 2 1 :. 2 1

~I' ~

·2 ••••••• 4 • .. ..•

3 3 4

fl 5 2 -= '-"';" 15 2 1 ~11 1

j ··, " - "*" .. 09-

(

~ · ·'* 4 ..•. -; 7T -; ~ ~4t 2- 2---

5 2 1 5 2

6

This exercise transposed into F to develop fluency on one black key,

(Re peat many t ime s )12543234

1 l .:5

12 .•.• __ •

3 mfI ••••••

,. ,. ,.3

3 4

•

3

2 3

5 5 5 5~ ~.!1 .• i1*- .• •. 2 1

, .. ~ 2 1 • z 1 ! z 1 5 2 1

I , ---- ""-lI t::=::::I<

I ·~~:j. 4 3 z

,. ,. ,. ••••- 3

5 '. 5 ~ 1) ~ ~ '-:;"1 .-.:;,.1 5 l 1

t ··, .- •••• ,. •.. ."..•.. •• •••~

·· ·-. -. -. ~~-:;J 4 3 z LI'- 3707-46 !.

7Exercise speci al Iy des igned to develop equal strength between the 4th and õ th fingers

(descending) as ez í st s between the 1st and 2nd (ascendíugj.

4~ 1 ~ I - 1 - 1 - 5 5 z •.• _5 4 3 ~ 5 - 1 l 2._ 1

· ·· ·41 --

<

I . · ·· ·• • • 2 3 4 ;it~~3 -

I l 5

5

5

3

52 1 2 1

3

fl ~ •• 2 1 5l 1 5 2 1 5 z - 5 - 1

I ··, 41 1 2- - - 1~

.. ··707 -46 l • • • •• ++ TTT ;it:J.:J. Q

3 l 3

5

4

5

1 5 4 5' 3 4 3;J -\ .: 3

) z 1 5

t 14· ·· ·... • - ••••••••

< M 7 !. M M.... ~I . ·· ·\ :;J T .... --., 23

1 5 ~ 5 1 5 1 5

8Rhythmic bass and chord accompaniment here added to insure absolute evenness inaU the right

hand notes.

5

3 3 3 3

~ 1~_. 5 1·~-- • 1 ••• _. ,•.. 1:'-· -----15 - 1•..••.. • - ---I , ----- - iiiI"""" j-

<, M M ! 7 .!M··

3 3 ~ 7 •• ..- :;

~ ~-- _ .•• ~ 1 _ .•• __.,.~ 1 _ ._~ - 1 •.• 1 • 1-I

14<

M M 7 .!-fi#'- M ... M·

3 2 • •• 7i ~3

fJ 1 1 1 1 1 1

I.

i~ -.-. - -6--<

M -! '-'M -fi#'- M 7

I · .707 -46 • .... ..- ~

uA variation on the th emc of NO.5. On cach study he sure to repeat the first measure until

the fingcrs have developed fluency in the formo

6

~1 5 4 5 3 é. 2 5

1 5, · ·· ·• ... · . - • -· . -· .· .< ·.. . M 1.1. . 7 M .:: •• ~ . M ~~I . ..· ·· .. ·- r- t--- c,..... c-

154535~5 15 1 5

1 5

M M 7 MM

5 5 5

~ f .~ ~ 41-15 5 !if-l ._~ __ F-l _ • ..,.. • ~l • 1

tt

<7 M M.~ M M .~ M, •

~ t--- ~ ~ c- C-J5 1 5 1

~ 5 1 ~ ~ 5-!,. 5_1--I ·I ·, :t - - •.- •. •• •• •••••••• *1 431

M 7 M M....•. •••• M. ··707-46~ c- t.... ~ L,..-..I ~

Are you keeping your hand in the correct position? Remember the fingers shonld be clawed asthough gras ping a base bano

10Th í s exerci se transposed into G for mastery of F~ with all fingers. Strive always forstrength,

flcxibility, and independence of alI fingers.

7

fl .•• 1 3 4 3 5 4 3 1 3 l ,1 3 ;, 4 3 1 3 ~ 1 3 3 1 :J ~ 4 3 1 :.; ~ ~., . ··, -:;.~~~rrif 1"'-··'" ...•.I ..•. • .•. · • • I .•.. ' • -- - • -( ~ / ~../ ~.i:.... ~ ::" ;. .fL M

M M.~ : .... ~t . ·. · -

~ 7t

fl •• 1 3 1 33 1 3 :J 1 3 "

I~~- -,'< 7M ;~ .... -fi- M .fL .,.. M

I :~- ... •

313

M

:J 1 3 3 3,1

M M M

~ .. ' .fL.*-_. ::..•. • 3 ! 3 5 3 5 3 5- 3

It ---- i=I::::I::::i ~

<

M ;. ~ M l.f'- !.~ MI - ··

• -. .,..

~ .. "3 3 5 3 5 3 5 3

··t • • .•... • ..•...•...•.. 71

<M ; ~

7

~

.... .•... M M ~ ~· ---+---+-· ·---- '-- - ·.' -+

_. -

,\ 5

Further technical development in the key of G. Observe the rhyth mic variation in thcompaniment.

fJJ.J. 4~ ~ 1 ~ \ " ., '~:J.--1 ~ .. s 3 4 .: 3 1 .. ..• -I .:

· · ' --t====

t · · --~ i"''' •• ..".* ~.• '..I .•. • .- I.' •

< \ 7 I

\ M r ~ I M

~"f. .. ::-~~· ·· - - =-~- t-= Ir r I i r í ! r

fJJJ 1 z~ 1 ~1 .: -I 1 '. -I 1 <\ •

I.

I._#_F -\- .

-t-• Sii"""" ;iiiii""'" -

<M 7

~• •• M M

I · -fI'.· &:4-r- r- i i r r r T I I i

8

5 -I

Z <\

1 21~

. ..+~

M MM

e I

~JJ .fL. 2 1 3 • .4 2 1 3 ~ .\ 2 1 s -4 2 1 5 4 'I==:~ -- 2 1

~

:-::::.

41 ==== ~~~ ..- -- -<

I M ~ M ~M•··

I I r r i i r- r --r r

~,i,j -::. z 1 -....!......21 5_1 Z 1 S 1 ~ 1 S 4I

\ · r· +~ • •• • ••••••• • ...- ...•..7J

~

M 7 7~ M IR. M IR.·· ··

707-46 r r I I I r 1 : r'

S I 5

Exercise with preparatory scale form for tlie lcft hand,

12

9

~ 2 1 3 5 4 1 2 3 4 3 5 1 2 1 "J " 3 N 1 ;1

~ · ·· ·• ..: • -o • -<

. .o oo • ., o • • o• o

~/o o::.. · ·· ·~ ~ ~~ •• •• T -.- •• • .•.. .•.. .- --.- • .2...

4 4 " 4 2 ;13 3

3 3 3

1 ;1 1 2

4 2 4 2 3 Z

4 2 4 34 4 4

55':'_a ,.-..__ +-~ e

fj ..-. - ,..,:. - ~4 ! 4 5.' 4

Iti.<

I ·· 7i~T7 3 2 3 2 4 ;1 4 2 4 --: --.- • ... . •- - ,z

~ 5 4 5.;....! . 1 5_1

/. 4

\ ··~ - • • ..... 4

)1

-~ • ···71 .•..• 7f ~ T .,. 3 " 3 2 1 2 .!. ~ .2... ~- - - -

5

3

3;1 2 3

I~

13Preparatory study for the tri ll.

1 • 1 5

10

~ 1 5 ~ 3 154 3 ~., 3 2 3 - 3 2 3 1 5

· ·· ·• •• - - •• lõiiII""'"<}I . ·. ··

~ 7 ~' , 7! •• !"' -- •• 4' ..2

..2 !. z3 4 I 4

3 :l 3 3 3

55

1 111

44 2 4 33 .;:> :l

1 2 3 4 3 4 3

2 3 2

5 5 11 1

3 2 3 2 4 2 4 2 4 z 2- - - 4 4 3 4

" -5 1 5 1 5 1 5 1

1

233 z3

707-46The pIayer is reminded that a brilliant trill depends as much on the evenness of the notes as i

does on speed.

14

This cx er ci se transposed into D to develop facility on two black keys.

11

1 ~ 5 5~~

~ 5 4 3 4 1 2 5 1 l 5

I ·· ·,, • \1· , •.•... •.•......< · .· .

I lj. · ·· ·•••• ..,. •• I 4- • • 4 z

1 ., 5 4 1 z 5

5 5 5

33

5 51!~_*a_. 12"-.- --- 1;.f!: ••.• _.

~ ..• 1 z ! a 1 Z .•..••.•..•• a 1 2._._ - -~ '~l=-~

It - -

~

I ·.!. 2 ...- .., 4 •• • • 4

2· .•• - ~é"a~. • 1 ~ -- • ~fL.~ •• 2 z 3 2 !";1..!. 1 .:.!;. i~1 z 1 2,;':'~~ :.•. ·-F .J-.J- ,... •. ~ i-

F- r-:•. 1 • 1 !.•.•..~~+=t= ;::1::. - • - a

It.

<

I ·z "

•. •.

5 5 5 5 5

3 2 3

2 4 4 :3

5 5

~~ ~~ 1_ _ a_ t~~a ~!1_ 5 5..•.•.- _a _ ..,..2 1 - .2 1 ! 2 1

t -~ ·

•• I I 41- .,; 7 ~ I :iJ 4 2 42 3

)..• 5 5 2 ~ ~1 ~1_ 2 1 1

I ·, lIiIi::I •••• - - .-.- - c;.I.

~ · ··~ •. • 4 ... ..- , •••• ~ I I ~ 4 2 -U

3 -

5 2 1 5

707-46 2 3 3

15

Further technical study in D embracing Major and Minor 7ths.

12

~~ 5 1 3 -, -~ ~ - 51 ~ 3 1 - 1 ~ 3 1 - - - 1 3-· ·I · ·t .. .- • - - - b:i::*:::t

<, .. · ·· · _ •.•. _i..•. , '.., ... , r , ••• .. • 4 :l

5 513 5 1 3

3 2 3

fl~ 5 5 5!'1! ti.':". ~1~ _a

•• 1 3 "1 3 -'1 3 • .•* - ---I

t - -<

I ·4 z -; , '-; ... , ... • ..

4- 3

5 5 5

3

11

4

5 5 5fl ~ 1 •. 3 ••#.. .*' 1.fL! .•..• -. ..fL 1-#-! •.•• _* I! 3 _ • _ • 1 :. 3 - 153

It - ••••••• ••••••••• .-

<

I ·~

, '4- 4 ~ 4.. .. •• , ...- 3

~ ~ 1 5 31 5 3 1 5 3

153 1

~ · -~·4IJ ~---- .. I~ ..•. v

< \, · ·--- '-; ~

, ,~ 4 z 4 2 -zt-

153

707-46 3 3

13

1f;

Exercise to develop dexterity in thirds.31425345

3 1" :s 1 "

~ 3 5 2 35213" 1 3 " 3 5 2 3 5 2

1 3 "1 3 4 1 3 " 1

I ··, - •• .6J-

~M ! •• M

M

~. #" •• 7

··707 46~ ~ ~ t> ~ V t--- c- t- t.-- ~

3 5 2

17

Further trill study. (3rd and 4th fingers ascendíng, 2nd and 3rd fingers descending)

1~4343541 z 4 1 2 '\

14

1 2 4

5

1~

121324351213,4351213

Study in A for mastery of the black keys. (Further dcvelopment of melodic thirds.)

~ •• ft " 1 2 1 3 1 2 1 3 _ 1 2 1 3 _ • 1 2 1 3 • _..- 1 !.1. ____-• .====< M M

~ ~ 7 M 7 M iR- ~- - -I

..c.--- ~

I ~ ~ r t--- r-

}!)7-46

15

1 " 1 3

1 2 1 3

\/I,: M,

M 7 M M

3

fl •. ++ " 1 5 3 5 :3~ 1 2 5 3 2 5 3 3 2 1

I ··~ - .- .- .•. .- .•....- ...•...-. ~

,l:rT

MM 7 M M R.- ·! . 1t- -- _.

~t.-- I j,.......-I~

r c- 4'

This exercise should a l so bet ud ir'd in Harmonic th ir ds, viz;

2 1 5 3 2 12 1 5 3 2 1 5 3 2 1 5 3

M MM

3 4 51 " 3

z 3 4 ~ simile1 1 2 3

ct c.

19

Expansion between 3rd and 5th ffngers.

16

1323543413235 1 3 Z 3

MM

M

1 3 5 5

~iJ. ~.1 3 5 A~5 1 3 5 l' 3 !- _ 1 3 .•.•••• 1 3 .IL.- .-.

I • - ~ 1......-< .:~ M

M MI ·7 M .fi. -IL- - - -

1 .• ..•. ~' T

5 5 5~ iJ. ~ .fI!2. 1 - ,,2 _ 1 .-2 5 2 1 5 2 1_ 52 1

1

I • ---- t:::I::::::i:::

7 M M ~~ MM

I ~.fI!

I .• ~ ~

~ ~ ~..•... Z Z1 1 1 5 2 5

I ·t - • ..-. • ••••••• .•..~ .•..~ . ~

~M

I 7 M M-I . ··

707-46 ~ • • ••

5 2 5 5

20

Expansion between 2nd and 4th fingers.

1 2 4 1 ''\

17

1 2 4 3~

~ 1 2 ·4 3 5 '\ ., 4 55 4 3 4 5 5 1 2 4

t · ·· ·I~ ~/ : : •· . -: :

< · . · .· .·. ·.M i MM !• 7 • .- ...

I .. · ·· ·•• • !Ir !ir ~ ~ '" ""

5 54 5 4 5 4 2-- .~-- 1 ~~ _•.• _.

~ 1 2 4 ! 1 2 • _+. _. 1 2..-. .--.~ 1 z...~~f:~.~ 1. _ 1"'"_

• • •••••••• - -(

M 7 M MM M ... -- • --,-= ~ ~ ~ .- ~ '" ..

4 3 s '\ 3

2~~~~t:~ 1 2 • -- •• -~ 1 i~f:~~f~ ~~ 2 ~ 1 2,;' 1 ~~ 2 ! 1 2 Ia. 1~!.,. f- _-t-r.-. f-- f--'-I-- f-. • ~ •.•. - ..•...t

t.(

M M.- -- M M ... •.. M·I I ..

5 5

~ ~;'!+1•..• ~.;. 2 •• 1 _ •• ~! 25 5 5 1~

1 ~ 3 2 1 •.. 3 2 1 • 3 2

I •(, M 7 M M M M... •• ... •• ... •··

~ •• ~ ~ ~ • I I

5 3 2 5~ 5 1

5 3 1 l!'Ioií... -.::. ~~23 2 2 1 1 1 1

I ·• •• •• •.-•...- •. -4

~M M 7 M M•• •• -- ...

Ii ·· ··'" •• • ~ •• ...

~ • I7U?· 46.

21study in contracting the hand. (Between 1st and 3rd fingers ascending, and 3rd and 5th

fingers descendíng.)

18

r1 z 1

3 _ -3 5...i 2 3 1 l 43 _

~ 1 2 <\ 35423 1 2 <\

· ··It ••• .- .- - -~ M M !• •• 7 ,.. ,.. M ,..I . ·· ·

~ ~ •• ~ •• ~ ~ 11" •••••••••• --- ---••••••

~ ~ 5 4 51 2••.• ~ •.•• 1 l._ ••.•.•.12<\ 5 1 2 4 124 • 1 2 • ..•..

i1'- •••••••

(

M M 7 MMM ,.. ,.. ,.. ~

~,J.-,.I

~ ~ li'" li' ~ ~ .,. 11'••••••• ••••• --••••• ---

4 5 4 5

5 " "3 !I 4 4~ "".:.. 1 _ •.• ~~! .•.1 ••• ~ .~ 2 •• 1

<\ 3 5 4 !. 3 ! 4 2 4 3 :. 4 2.•.:.".2 1 1 1 4 3

tt - ----<

7 M M M MM•• •• •• ••

I .• !li' -

iiJ" ••• ~ ~ L....J ---- ••••• •••••- --~

-•.•....~ 4 3 5 4 2 1 4 3 542 4 35 4 2 1 4 3 5 4 2 1 1

I • • 4--~M 7 M M M 7•• •• .- ••

I . ..•• ~ !ir •• ~ ~

1....-1 ~••••• --- ----707 46

For exerci se in the remete keys, this study may be transposed to .C* by reading the same notes,employ~ngthe signature of C#, seven sharps,

22Exercise in G. Development of fluency in melodic 6ths.

19

~ JJ. 53:.! " 1o ~1 5 3 " 5 3

2 "153 " s

3 "I .I ·

• 1:~'r ••••••• • •••• 7t - -41 •11 • • : -41

< ~!L.l 7:: M iR- ~ fl- M M •• •• M:: ••t

, . ··I ~ • • •• •• Ir

1 5 - " 1 5 3 "

~~15" - 5

1 5 3 l' ! 3 - 1 • 3 _. -j

tJ - -M 7 7•• •• ... ~ ~ -- M ~ ~ ~ M·~ ~ ~ ••• '"" '""

1 5 3

5 5 5 s~~

5 1" 3_. _+ 1~.!.~_. 1--=;"'~._~ ~1_~. _.••• ! ~1! •.••• 21 .•.. 3•.•.. •41 -

M M 7 M•• ,.. ••• M ~ ... •• •• "- fi- M ".. ".. ...·ti: r. ~ r. Ir ••• 11'- ~ ~ ,. ,. r- ••• ~ •• ~ ~ ~

5 5 1~~ _1 3

li 55 1 3

".",;;.,..3 z_.2 .1 3 2 .13 ~ 2 li 1 3 2 •••••••~ • 1== - 1=1::1:I< 7 }I !ti

!ti ~ iR- ~ !ti ~ iR- ". •• •• •• M, ·~.

'""•. ,. •• •• ".. ~ •• ,.

1 JJ...;..... 2 5-1 3 2 5-! 3 2 5 1 3 5 1 3 12 2

I ··• • • ...- ..- • • -- ..•.. -... .-. ~.7T :71~

M~

7If.".. ".. M ~ iR- ~ M ~ ~

I • ·~ ~ ~ I 11' 11' 11'

513

107·46

This exercise may be transposed into Gb by reading the same notes and employing the signaturrof Gl,. six f lats.

Exercise for the development of dexteríty in one octave arpeggi08.Transposed into E minor, employing the Harmonic minor formation.~.()

20

1 2" 5" 3 " 2

1 2 4 5

" 3 " 2

51- 2 "

3

23

m m

1

"" 5 "

2 1 2-, 1 2

m mm

5 " 5 " 2 1 32 1 3 1

5 " 213 15 " 2 1

25 " 2 1 33

m

707-46 -

24Introducing 16th notes in the bass to develop perfect synchronizing of the two hands.

(M.M. J : 60 to 108)5 4 5

21

~ 1 2 4 5 1 4 5_1 , 2 1 1 23.....! 3 4 4 3 2

I 1 2 3 2 3 3 2 3 2

I · ·· ·t ..~::~.. ., .. .,

<: : :... :.. '" .". " .•• • .oo •" .. .

~

Sempre' B.S.: -.. · ·· ·... ..- ~ 3 2 .!. - ., --. ~ 2 3 l- i.2 43 2

J~ 2

- 5 - 1_ - ==::s 51 5 2

t , •••••< -I - .·

2..•. 3 2 3 2 4 2

.,~ 2 4 2

2

~ 1 2 5 - 1 2 •• •• 1 2 •••••• ••••t' .~ - . - --

( - •• I .•..-I ·

3 2 4 .....,

5 5

5 5

~5 •• 2_.# •• "~.- •. !..---·~.•.~ff!: ••1

2••.•.__...- -- 1 •• 1 •••••

j -;,4

.f!•• _ ~ •. ~~.---I ··

r r

707-46

25

3 4 z 2 4 2 3-- 2 4 4 2 !..:.. 3 2342 4

í

5 5 4 5 5 4 5 5~ ~--- .•.fI-. _.• ••.• •..•.fI-~. .~--•. •• ... -.--- .-.iL! •I ,~ -•• .•. .I! - • -# •~

.2 3 Z - 4 2 32 -2 .;! '\

5 5 5 5 5 5 4~ ~. - •.•. 1. - .- _.4 - -I

t - -~

I . --- r -" 5 5 '\- - '- -J 5 5 4 5 5 '\

~

I , - -~ - - I,r ..-- r -,J .•.• ..•.- •.

5 5 1 5 5 4~ - 1

·t ·, - .. - - .- - •....~ - - ... - • -e-

~, I.. ··~ ~-,j'" • - ~:J~~ .:e:-707 46

26Exercise to develop fleetness in the left hand staccato.

22~ 1 g 4 5 3 4 3 4 3 2 1 2 3~ 3 4 3 5 3 2

3' ~ 3 1 -, 1 3 2 3

· ·I · ·, t 4-· .... • ••

< M• •• •• •• 7

I . · ·· ·= ~ 'fi- ti ~ ~,. r l' T

5 5 4

3

~ 1 ,. 2 - - ~ 1 3 - 1 33 2 3

, -~ -~

M M M•... •• .. •• •• •• •• •••

-r -r- -r ., ~ i- i r" r" • r r r r

~ 1 3 2 3 1 3 2 .••3 .•. 1 3 2 _ .• 3 •..•.•

~

• ~~ . iiIII"'"

(

M :MM

I ••• ... •• ...I .

I I I I f =r f f 4.

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