introduction to the art of playing on the piano forte
TRANSCRIPT
Muzio Clementi's
Introduction to the
Art of Playing
on the
Piano Forte
Mutopia ǀProject
ǀǀ
Typeset using LilyPond © 2014 by Javier Ruiz-Alma — Mutopia-2014/02/18-1938 Creative Commons Attribution ShareAlike 4.0 International License — free to distribute, modify, and performǀ
Acknowledgements for this edition
My gratitude to the LilyPond User Forum and the Mutopia Project, for making this project
possible; especially:
Nicolas Sceaux, Chris Sawer, Glen Larsen, Mats Bengtsson, Mike Solomon, Jakob Lund,
Janek Warchoł, Keith OHara, Nick Payne, David Nalesnik, Reinhold Kainhofer,
David Kastrup, Shane Brandes, Xavier Scheuer, Eluze, Robin Bannister, Phil Holmes,
Thomas Morley, Federico Bruni, Felix Janda, Bas Wassink, and Edward Neeman.
Table of Contents
Music Notation
4Preliminaries
4Clefs
5The Scale, or Gamut
6Intervals
7Tenor, Counter-tenor, and Soprano clefs explained
8Figure, Length, and the relative Value of Notes and Rests
9Time and its Divisions
11Sharps, Flats, etc.
13Various other marks.
13Abbreviations
15Style, Graces, and marks of Expression, etc.
17Turns, Shakes, and Beats, explained
20Major and Minor Modes or Keys; vulgarly called Sharp and Flat Keys.
21Explanation of Various Terms
Fingering
23Preliminary Directions
23Scales in all the Major keys, with their relative Minors
28General Remarks on the foregoing Scales
29Extensions and Contractions etc.
30Examples of fingering for the right hand.
33The left hand.
Preludes and Lessons
Lesson I
34Prelude in C Major
34Away with melancholy: by Mozart
Lesson II
35Aria
Lesson III
35Air, in Atalanta, by Handel
Lesson IV
36Air, in Saul, by Handel
Lesson V
38Dead March, in Saul, by Handel
Lesson VI
40Allegro by Corelli
Lesson VII
43Prelude in A minor
43Gavotta by Corelli
Lesson VIII
44Prelude in F Major
44Air, in Judas Maccabeus, by Handel
Lesson IX
45March, in Judas Maccabeus, by Handel
Lesson X
47Sarabanda, by Corelli
Lesson XI
48Giga, by Corelli
Lesson XII
50Arietta, by Mozart
Lesson XIII
51Minuet and Trio, by Mozart
Lesson XIV
53Le Réveilmatin, by Couperin
Lesson XV
57Prelude in D minor
57Larghetto, by Scarlatti
Lesson XVI
59Allemanda, by Corelli
Lesson XVII
61Sarabanda, by Corelli
Lesson XVIII
62Prelude in G Major
62Ah vous dirai - je maman
Lesson XIX
63Triste Raison
Lesson XX
64Fal, lal, la. Air in the Cherokee.
Lesson XXI
65Larghetto, by Pleyel
Lesson XXII
66Arietta
Lesson XXIII
68German Hymn, with Variations by Pleyel
Lesson XXIV
71Andantino, by Dussek
Lesson XXV
73Allegro, by Handel
Lesson XXVI
75Minuet in Samson, by Handel
Lesson XXVII
77God Save the Emperor, composed by Dr. Haydn
Lesson XXVIII
78Rondo in the Gipsy stile, by Dr. Haydn
2
Lesson XXIX
86Prelude in E minor
86Tambourin by Rameau
Lesson XXX
89Prelude in B flat, Major
89Minuetto by Scarlatti
Lesson XXXI
91Lindor - an Air
Lesson XXXII
92Minuet and Trio, By Mozart
Lesson XXXIII
94Gavotta in Otho, by Handel
Lesson XXXIV
96Andante with Variations, by Cramer
Lesson XXXV
100Prelude in G minor
100Allegro, by Scarlatti
Lesson XXXVI
104Prelude in D Major
104Gavotta, by Corelli
Lesson XXXVII
105Minuet in Ariadne, by Handel
Lesson XXXVIII
107March in the Occasional Oratorio, by Handel
Lesson XXXIX
109Waltz, by Beethoven
Lesson XL
111Allegro, by Corelli
Lesson XLI
115Prelude in B minor
115Giga, by Corelli
Lesson XLII
117Prelude in E Flat Major
117Rondo by C.P.E. Bach
Lesson XLIII
124Prelude in C minor
124Minuet, by Scarlatti
Lesson XLIV
126Prelude in A Major
126Andante Allegretto by Paradies.
Lesson XLV
129Prelude in F# minor
129Adagio by Corelli.
Lesson XLVI
131Prelude in A flat Major
131Slow March by Couperin.
Lesson XLVII
3
133Prelude in F minor
133Allegretto by Couperin
Lesson XLVIII
135Prelude in E Major
135Polonoise and Minuet, by Sebastian Bach
Lesson XLIX
138Gavotta, by Corelli
Lesson L
139Prelude in C# minor
139Minuet, by Dr. Haydn
MUSIC NOTATION
PRELIMINARIES
All musical sounds are expressed by certain characters, called notes, which are named from the first sevenletters of the alphabet: A, B, C, D, E, F, G.
The Stave contains five lines, and four spaces: the lowest line is called the first.
The notes are placed on the lines, or spaces above, or under the stave and the additional, called LEDGER lines
are for the higher and lower notes.
CLEFS
In order to determine the PITCH of musical notes, certain signs, called CLEFS or CLIFFS have been invented,which are set at the beginning of the staves.
There are five in general use.
The Bass clef, on the 4th
line ª The Tenor clef on the 4th
line �
The Counter-tenor clef on the 3d
line � The Soprano clef on the 1st
line �
And the Treble clef on the 2nd
line �
The Treble and Bass clefs are chiefly used for the Piano Forte.
5MUSIC NOTATION
THE SCALE, OR GAMUT
Shewing the position, and name of the notes.
�
d
�d
�
e
� d
�
g
�
g
�
f
c
�c
c
�e
�e
f
�g
�a
�d
�
a
e f��
Bass
Treble
a
�g
�d
�ca
��b
�b
�
b
�f
�g�
g
e f
��
�b �
�c
�
g
�d
�f
�c
�
��
a
�b
���
eª b
�f
�a
�
Let the PUPIL now strike the notes on the instrument; taking notice, that the first LONG key, on the left hand,
serves for the first F; the second LONG key for G; the third for A; and so on: making no other use, at present, of theSHORT keys, than as GUIDES to direct the eye; by observing, that between B and C, and between E and F, there areno SHORT keys; which places in the scale are distinguished thus ⁀ .
Remark on the foregoing Scale.The first EIGHT notes in the treble-stave from G to G, are the SAME as the corresponding EIGHT notes,
perpendicularly under them in the bass-stave, both in NAME and SOUND ; they are played, therefore, on the SAME
keys.As a help to memory; let the Pupil contemplate the notes, SEPARATELY, on the lines, and spaces; beginning by
the FIVE lines.
�Treble
�CC �A�B�
F
��F �E
�G�AC
�G
�G
ª ��E�B C�AF
� �E�DA
Bass �E �D��
�� �B
D��BG
�F �D �F
�C E �E�C�ATrebleBass
� �GB D � �F�
D
��G
�B
�F�A�
Gª
�� ��� �� �
���� ��
�� �� ��
� � � �����
�� �� �
� ��
� ��
�� �Exercise for treble notes:� �
�� ���� �� �
�� �� ��� � ��� � � �� �
�� ��
�� �
���� �
� �� �
ª �� ��� �� ���� �
Exercise for bass notes:
� � ��
N.B. Let the Pupil FIRST be familiarized with the notes, by READILY naming them; and then find them out as
READILY on the instrument.
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE6
INTERVALS
An INTERVAL is the distance, or difference between two sounds in point of GAVITY or ACUTENESS.The least of our INTERVALS is called a semitone, or half-tone: it is the INTERVAL, in the NATURAL scale, between
E and F; and between B and C.
Ex:
C
��E
�F
�B
ª
The REGULAR progression of the OTHER notes in the NATURAL, which is also called DIATONIC scale, is by anINTERVAL of two semitones or a whole note.
Example of the NATURAL or DIATONIC scale.
tonesemi-
�tonewhole
�ª �semi-
�tone
tonewhole
�tonewhole
� whole�
tonewhole
�tone
The INTERVAL between C and D, between D and E, or between any two CONTIGUOUS notes, in the scale, is call aSECOND: the INTERVAL between C and E, or between D and F, etc: is called a THIRD; and so on.
Example of INTERVALS
� 7
th
�� 6
th
�ª � 8
th
��� 2
d� �
3d
� 5
th
�� 4
th
�
The INTERVAL of an 8th
is commonly called an OCTAVE.
N.B. The nature, and name of the INTERVALS remain the same, whether the single notes be playedSUCCESSIVELY, or whether two, or more, be struck TOGETHER: the former is properly called MELODY; and thelatter, HARMONY.
Example of the latter.- �� �� ��� ���� ���
The notes thus taken TOGETHER are also called CHORDS; the succession of which, played from certain figures
set over a bass, according to a system of rules, is denominated THOROUGH-BASS.
7MUSIC NOTATION
TENOR, COUNTER-TENOR, AND SOPRANO CLEFS EXPLAINED
�d�
�g
��b
���g�
�f�
�eª
�ßare played as if
written thus:
The notes
written thus:
�a
��c
�
�b
�
�f
�a
�
�g
��Bass�c
Tenor
��e
�
�d �e
�
�d�
�f�
�b
�
� �c
�
�d�
�f�
�d�
�b
��e�
� �c
�
ª
��are played thus:
when written thus:
�b
��c
�
�g
�
�f
��a
�
�g
�d�
Bass�c
Counter-tenor
��e
�
� �e�
g
�
�f�
�b
��d�
�c
�
�b
�
�d
�
�f
�
�g
��a�
� �f�
���
are played thus:
when written thus:
�d
�
�c
�
�b�
�f
�
�a
�
�g
�d
�Treble
�c
Soprano
�
�e
�
� �e
�g
�
�f�
�b
�
�d
�
�c
�
By which it is evident, that the Tenor-notes must be played one fifth HIGHER than the Bass-notes: the
Counter-tenor notes, one seventh HIGHER than the Bass-notes: and the Soprano-notes, one third LOWER than theTreble-notes.
It is now proper to take notice, that the bass-clef is also called the F-Clef, as it indicates by its position where
the note F lies: ª F� the tenor, counter-tenor, and soprano-clefs are called C-clefs, because they
determine the place of C: �Tenor:
C
� �Counter-t:
C
� �Soprano:
C� and the treble-clef is called the G-clef,
being placed on the line where G is found �Treble:
G
�
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE8
FIGURE, LENGTH, AND THE RELATIVE VALUE OF NOTES AND RESTS
�demi-semi-quaver�
�semiquaver,�
�Notes
Rests
� minim,
�Semibreve,�
� �quaver,�
�crotchet,�
One Semibreve�
Is equal in length of time to
�2 Minims
�
Which are equal to
��4 Crotchets
� �
Which are equal to
��8 Quavers
�� � ��� Which are equal to
� � �� �16 semi-quavers
� �� � ��� � � � �� �
Which are equal to
�� � �� � � � � � � �32 demisemi-
quavers
� � � �� � � ��
� ��
� � � �� ���
A DOT after a note, or rest, makes the note or rest half as long again. Ex: ¸ � is equal to a minim and a
crotchet; or to three crotchets, and so on: � � is equal to �� and so on: by which it is evident, that the DOT to
a minim is equal to a crotchet; and the DOT to a crotchet is equal to a quaver; etc: When a second dot is added to
the first, the second dot is considered as the half of the first; therefore a double-dotted Crotchet thus � ��
is
equal to a crotchet, quaver, and semiquaver; or to seven semiquavers.
Let us farther illustrate this by the mark, called a TIE, made thus which, when placed between two
notes of the SAME pitch, binds the second to the first; so that only the first is struck, but the finger must be held
down the full length of both. It is therefore indifferent whether we write thus � �
or ��
or
� � �
and � ��
is the same in effect as ���
9MUSIC NOTATION
TIME AND ITS DIVISIONS
The BAR, made thus divides a musical composition into EQUAL portions of time.
TIME is divided into two sorts; COMMON and TRIPLE; and of which is either SIMPLE or COMPOUND: and thecharacter or sign, which denotes it, is placed at the beginning of every composition, after the clef.
SIMPLE common time, when marked thus � � or � denotes, that each bar contains one
semibreve, or its equivalent.
� �� � �� �Example
� ��or
� � � �� �
When marked thus 42� the bar contains one minim, or its equivalent.
� � �� �� 42 �� �� � �Example
� � Four sorts of COMPOUND common time explained:
� �� �1st
sort 812� ����� ��� ����� containing 12 quavers in abar, or their equivalent
����2
d sort 86� ���� � �� six quavers in a bar, or
their equivalent
�����3
d sort 412� ����� ��� 12 crotchets in a bar, etc.
� ��� ��� �464th
sort� � � 6 crotchets in a bar, etc.
The two last sorts are very seldom used in modern music. SIMPLE triple time explained.
23 � �� ��� three minims in a bar,or their equivalent
���43� �� � ��� � three Crotchets ina bar, etc:
���83� � �� ��� three quavers ina bar, etc:
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE10
COMPOUND triple time explained.
�����49� ����� ���� nine crotchets ina bar, etc:
� ��89� �� ���� ���� nine quavers ina bar, etc:
COMPOUND triple time is seldom used in modern music.N.B. The contents of every bar, in common time; whether SIMPLE, or COMPOUND, may be divided, (by beating or
counting) into four, or into two equal parts: and in triple time; whether simple, or COMPOUND, into three equalparts.
The figures, which mark the time, have a reference to the SEMIBREVE; the LOWER number, showing into howmany parts the SEMIBREVE is divided; and the UPPER number, how many of such parts are taken to fill up a bar.
For example 42 denotes, that the SEMIBREVE is divided into four parts, namely, four crotchets; and that two of
them are taken for each bar: likewise 83 indicates, that the SEMIBREVE is divided into eight parts, namely, eight
quavers; and that three of them are adopted to compleat a bar. The figure of 3 placed over three crotchets, quavers or semiquavers
� � �3� or
� � �3 3 3� � � �thus ��� � �
or �� 33
(which are called triplets) denotes, that
the three crotchets must be performed within the time of two common crotchets, or of one minim; the threequavers within the time of two common quavers, or of one crotchet; and the three semiquavers within the time oftwo common semiquavers, or of one quaver.
N.B. The easiest way is to consider them all as three to one, and to beat or count the time accordingly; that is, tobeat the first of every 3. (N.B. SCARLATTI, and others have written three demisemiquavers to a quaver; and threesemiquavers to a crotchet in some of their pieces.) The figure of 6 over quavers or semiquavers, means that theyare to be performed within the time of four of the same kind; which is a similar case to the preceding one. Thefigures 5, 7, 9, 10 etc. follow the same rule.
11MUSIC NOTATION
SHARPS, FLATS, ETC. The SHARP � placed before a note, raises it a semitone or half-tone. Let us now observe a scale of semitones,
called the CHROMATIC scale.
�� ��� �Ex: � �� ��� �� �� ��� The intervals of the contiguous
notes are all semitones.
N.B. The LONG keys of the Piano-Forte, or Harpsichord, are commonly called the NATURAL keys, tho'theyocassionally serve for SHARPS and FLATS; and the SHORT keys, are called SHARPS and FLATS, being only used forSHARP and FLAT notes.
Now if a SHARP be placed before C, thus: � � � the note is called C SHARP; and it is found on the
instrument between C NATURAL, and D NATURAL; being one of the SHORT keys: D SHARP is the SHORT key betweenD, and E; but between E, and F, ther is no SHORT key; nor is it wanted: for the INTERVAL between E and F, is but asemitone; and therefore when we want E SHARP, we strike the key generally called F NATURAL. F SHARP will befound between F NATURAL, and G NATURAL: G SHARP between G and A NATURAL: A SHARP between A and BNATURAL: and B SHARP is under the same predicament as E SHARP; we therefore strike C NATURAL for it.
The flat � placed before a note, lowers it a semitone or half-tone: and if the note is a B, to which the FLAT isprefixed, it is then called B FLAT; and it is found between B NATURAL, and A NATURAL, being one of the SHORT
keys.=====General rule: every FLAT is found by going one semitone LOWER; that is, toward the left-hand: and every
SHARP, contrariwise, by going one semitone HIGHER; that is, toward the right-hand.The double SHARP � raises the note TWO semitones; and therefore, if it be F double SHARP, we strike G NATURAL;
etc.
The double FLAT � lowers the note TWO semitones; and therefore, we go as much to the LEFT for a double FLAT,as we did to the RIGHT for a double SHARP.
The NATURAL � takes away the effect of a SHARP, or a FLAT; whether single, or double. And � � , or � � , REINSTATES
the single sharp, or flat.
The Pupil must by this time have observed, that � � � is struck by the SAME key as � � � and
� � � by the SAME key as � � � etc.
Now, the inconveniency of charging to memory with the VARIOUS uses of the SAME keys, is but small; when
compared with the impracticableness of performing on an instrument, furnished with keys, PERFECTLY
corresponding with every flat, and sharp, single or double, which composition may require: a method therefore,has been adopted in tuning, called TEMPERAMENT, which, by a small deviation from the truth of every interval,EXCEPT THE OCTAVE , renders the instrument capable of satisfying the ear in EVERY key.
When a SHARP is placed close to the clef thus
�� it affects every F throughout the piece; except where
the sharp is contradicted by the natural.N.B. The same rule holds, when there are two or more sharps at the clef; every one affecting its corresponding
note.
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE12
When a FLAT is placed by the clef �� it affects every B throughout the piece; except where the flat is
contradicted by the natural.N.B. The same rule holds, when there are two or more flats at the clef; every one affecting its corresponding
note.When a sharp, flat, or natural is prefixed to a note, in the course of a piece, it affects all the following notes of
the SAME NAME , contained in the SAME BAR : it is then called an ACCIDENTAL sharp, flat, or natural.
� �� ��� � ��1st
Ex:
� � ��� � �� � � � �is played as if written thus
� � ���� ��� � �� ��� � �2
dEx:
� � �as if written thus� �
� ��as if written thus
��� � � �� �3
dEx:
�� � ���� � ������ �� �� �� �� � which abbreviations, are a modern improvement. The foregoing RULE extends even to the first note of the subsequent bar, when the affected note is the last of
one, and first of the next.
�� �� �� � � � � ��Ex:
�� � ���� ���� ����as if written thus
��� ��� And the same with flats and naturals.
��The order of SHARPS
at the clef.� ��� ��
descending by a 4th
and
ascending by a 5th
��The order of FLATS
at the clef.� ��� �� ascending by a 4
thand
descending by a 5th
13MUSIC NOTATION
VARIOUS OTHER MARKS.
The pause �� or �� renders the NOTE longer AT PLEASURE ; and in certain cases, the composer
expects some EMBELLISHMENTS from the performer; but the pause on a rest � � only lengthens, AT PLEASURE,
the SILENCE.
The SIGN or REPEAT � is a reference to a passage, or strain, to which the performer is to return: the Italianwords, AL SEGNO or DAL SEGNO , denote such a return.
The double bar marks the end of a strain; or the conclusion of a piece.
The DOTTED bars ���� denote the repeat of the foregoing, and following strain.
N.B. The second part of a piece, if VERY LONG, is seldom repeated; notwithstanding the DOTS.
When the bars are marked thus �� or �� then the strain, only on the side of the DOTS is
to be repeated.
ABBREVIATIONS
��� �
Ex: ��
to be played thus� � �� �
�� �� �� �
Ex: � � �� �� �
thus� �
� �� �� �Ex: � � �����
thus�
� � �� ��Ex: � � �
thus�3 �� � � � 3� 3�
� �� �Ex: � �� � �� � �� �
thus
� 6�� � � ��Ex: � � � �� � �� 6� � � 6� �
thus
� � �� � � ��Ex: � � �
played thus
� � � � � � � ��� �
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE14
� � �� � ��Ex:
� � ��
thus
� � � � � � ���� � The ITALIAN word, Segue; means, it continues, or follows:
� �� � � � ��Ex:
� � � ����
segue
���� � � � �� �� � � thus
Tremando, or trembling:
�� � ��� � ��Ex:
� �� ������� thus
�� � �� �� �� �
15MUSIC NOTATION
STYLE, GRACES, AND MARKS OF EXPRESSION, ETC. The best general rule, is to keep down the keys of the instrument, the FULL LENGTH of very note; for when the
contrary is required, the notes are marked either thus: � �� �� �� called in ITALIAN, STACCATO; denoting
DISTINCTNESS, and SHORTNESS of sound; which is produced by lifting the finger up, as soon as it has struck the
key: or they are marked thus � �� �� �� which, when composers are EXACT in their writing, means LESS
staccato than the preceding mark; the finger, therefore, is kept down somewhat longer: or thus � �� �� ��
which means STILL LESS staccato: the nice degrees of MORE and LESS, however, depend on the CHARACTER, andPASSION of the piece; the STYLE of which must be WELL OBSERVED by the performer. The notes marked thus
� � � � called LEGATO in Italian, must be played in a SMOOTH and CLOSE manner; which is done by
keeping down the first key, 'till the next is struck; by which means, the strings VIBRATE SWEETLY into oneanother.
N.B. When the composer leaves the LEGATO, and STACCATO to the performer's taste; the best rule is, to adhere
chiefly to the LEGATO; reserving the STACCATO to give SPIRIT occasionally to certain passages, and to set off theHIGHER BEAUTIES of the LEGATO.
This mark ���� prefixed to a chord � �������� signifies, that the notes must be played SUCCESSIVELY, from the
lowest; with more or less velocity, as the sentiment may require; keeping each note DOWN 'till the time of thechord be filled up.
Chords marked thus � ��� ���� are played as the preceding chords, with the addition of a note WHERE
the oblique line is put, as if written thus ������� ������� ��� but the additional note is not to be kept down.
Dolce or dol: means SWEET, with TASTE; now and then SWELLING some notes.Piano or Pia: or p, SOFT.Mezzo, or mez: or mezzo-piano, or poco p, or poc:P, RATHER SOFT.
Pianissimo, or P moor pp, VERY SOFT.
Fortissimo, or F moor ff, VERY LOUD.
Forte, or For: or f , LOUD.
Mezzo f , or Mez: f , RATHER LOUD.
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE16
Forzando, or sforzando fz, or sf , to FORCE, or give emphasis to, ONE note.Rinforzando, or rinf: to SWELL 2, 3, or 4 notes.
Crescendo, or cres: marked sometimes thus means GRADUALLY LOUDER.Decrescendo, or decres: GRADUALLY SOFTER; the same as the following; viz:
Diminuendo, or dim: thus GRADUALLY SOFTER. N.B. this last mark often denotes anEMPHASIS, where it is WIDEST, and then DIMINISHING.
This mark means to SWELL and DIMINISH. ARPEGGIO, or ARPEGGIATO, requires that the notes of a CHORD shall be played successively; which may be done
in various ways.
�� � ������� thus
or ���Ex: � ��� ����
thus
� ��� ����Arp:
��� ������ ���� ������ ���
thus
or� �� � ����� ��� ����� ��� �������� ����� �� �or ��� ��� �� �� or
��� � �
OTTAVA, All'8va
, 8va
alta, set over a passage, means that the notes are to be played an octave higher: and LOCO,that the notes are to be played again as they are written.
The APPOGGIATURA is a GRACE prefixed to a note, which is always played LEGATO, and with more or less
EMPHASIS; being derived from the ITALIAN verb APPROGGIARE, to lean upon; and it is written in a SMALL note. ItsLENGTH is borrowed from the following LARGE note; and in GENERAL, it is half of its duration; MORE or LESS,however, according to the EXPRESSION of the passage.
APPOGGIATURAS, and other GRACES in small notes explained.
�� ����� �� ��� �
as taste best directs in the passage.
thus��
or thus��
�Ï��Ï ���Ï ���� ���with spirit
�������Ï �thus
��� ����
�� Ï ����� thus
�
���
��� �
�Ï
��
thusÏ
or�
thus��Ï ��� ��� Ï
� played thus�� � or�� � �� to be play-
-ed thus
�� or�
� �
17MUSIC NOTATION
� � �� ��
�Ï � �Sometimes Ï
� � �played thus�� � ��� ��
�
�Sometimes the little notes are added to give EMPHASIS:
� �� �� � �� ��Example� �� � � ���
Ï� � Ï� Ï
� � ��
played thus
N.B. the finger or thumb must be taken off immediately from the LOWER notes.
��Ïthus
expressively� � timessome-but Ï �
���� ����Ïthus
ÏÏ ÏÏ� ������� �3�
th:����ó
�Ï�ó �ó
�Ï
� ����Ex: � ����� �������played ��
thus
� ��
� �� Ï ��Ï�� ��
�
� Ï ��Ïó�� � � � �� thus � ��� ��
�
Ex: in double notes
ÏÏ thus�� � �� thus� �� Ï
TURNS, SHAKES, AND BEATS, EXPLAINED
ÏThe Turn
Ï Ï �� � 3played thus � � It is sometimes writ-
_ten in small notes �� � �
� ���� �� ��� ������ �� 3�� ��� �
thus
��� 3� �
thus
�� thus � �
� � thus� � �� � �� � � � ��3� �� thusThe plain
note and turn
� �Ï
or� The dotted
note turned
�� � ��3
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE18
thus��
�
or �� �
�� Inverted turns �3
� � � �3� �
thus � � �� ! � ��or
N.B. The LOWEST note of EVERY sort of turn is MOSTLY a semitone:
� 3� � �
thus�Ex: 1st � � � � �� 3���
thus
Ex: 2d�� � �
� "
� thus� ���� �� �� ��Ex: in dou-
-ble notes�
3����� ���� �� ��thus�
��� �
3� �3
� ������� thus��
� � �Some Authors
mark it thus
� � � � #�Shake.�� � �
orplayed
thus
� ��$ $� � �
��Short shake
beginning by the
note itself.
� ��� �$ $�$ $ �thus
� �� � �� played thus
� � �%� �� ��Transient
or passing
shakes
��Ï ��Ï$ $� Ï� or thus� Ï
Sometimes ex-
-pressed in small
notes.
�$ $� �� �%� �
����turned thus
and sometimes�� ��Turned
Shake.
�� ���or or
�$ $�or
&� $ $�� �� ����#�thus
played
&thus
� 6�ÏPrepared shake
� �� ���� ���� � 6���� ����� ''''''''&Continued
shake.thus
��� � ����� ��The shake LEGATO with the preceding note, explained:
19MUSIC NOTATION
�� ��3��� ��� �� 3��� ����� � �� � � � � �� � ����� �thus
���thus
�or thus
� �N.B. The GENERAL mark for the shake is this & and composers trust CHIEFLY to the taste and judgement of
the performer, whether it shall be long, short, transient, or turned.
�� �or
��or� � � � ���The BEAT
�or� ���$ $ (
or�
thus�
or� �� 3� �� � � �
The LENGTH of the BEAT is determined, like that of the other graces, by the circumstances of the passage.N.B. When the note preceding the beat is an interval of a SECOND, let the beat adopt it, whether it be a
semitone or a whole tone:
�� thus� �� � �played
thus Ex: ���� � �� ��( (
But when the beat, is on the FIRST note of a passage, or, when it follows a note, whose interval is GREATER thana SECOND, it should be made with a semitone; as the following examples will show.
thus �� � �( ��Examples� �� � �� �� ��( � � �� ��
thus
Lastly, let us remark, that the beat is seldom used in modern music.
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE20
MAJOR AND MINOR MODES OR KEYS; VULGARLY CALLED SHARP AND FLAT KEYS. The FUNDAMENTAL note, called the TONIC or KEY-NOTE, of a composition is either in the MAJOR, or MINOR mode.
An exposition of the scale in each MODE, will best explain their essential difference.
5�� �
�4��
��7
��6
�ª
Ascending and
descending scale
in the key of
C, MAJOR.
� 3
��2
�Key-
note
�1�3� �
�5�Key-
note
1� �4��2
� ��8
��8
��6
��7
N.B. The intervals in THIS scale are in their SIMPLE state; but in the following, they are an octave higher, and
are called COMPOUND intervals; still retaining their names of 2d
, 3d
, 4th
, etc: as in their SIMPLE state. The figure1, stands for a note of the same pitch, called UNISON: this last remark is confined to the foregoing example.
�5��
�4��3�7
� ��6
��ª
Ascending and
descending scale
in the key of
A, MINOR.
� ��2
�Key-
note
�1�3� �
�5�Key-
note
1� �4��2
� �
�8�
�8��
�6� �
�7�
The first DIFFERENCE, which strikes the eye, is, that in the MAJOR-KEY , the semitone lies between the 3d
and 4th
, and between the 7th
and 8th
both ascending, and descending: whereas in the MINOR-KEY , it lies between the 2d
and 3d
, and between the 7th
and 8th
ascending; but in descending, between the 2d
and 3d
and between the 5th
and
6th
. Authors vary, however, in regard to the 6th
and 7th
of the MINOR mode. The ESSENTIAL and IMMUTABLE difference, therefore, between the MAJOR and MINOR key, is the interval of the
3d
, which differs by a SEMITONE; for if we analyse the 3d
in the MAJOR-SCALE, it will be found to contain two wholetones; or four semitones:
�� semi-tone�semi-
tone��Ex: � 3d
�wholetone� 3d
wholetone� semi-
tone�semi-tone�or
Whereas the 3d
in the MINOR -scale, will be found to contain one whole tone with a semitone; or threesemitones.
3d�semi-tone
�� semi-tone
� Example � �semitone
� 3d
wholetone
� semi-tone
�or
Now, the LAST, and if a chord, the LOWEST note of the bass, in every REGULAR composition, is the KEY-NOTE ; let
the contents then of the first FULL bar be examined, (treble and bass); where, if the 3d
be major, the piece is said
21MUSIC NOTATION
to be in SUCH a key major.
the LAST and LOWEST
note of the bass is F.��� �ª �
��Example of a conclusion:
��� �
� ���
�� ���
���Example of the beginning
of the same piece:
��
�ª43�43
���
�� the 3
dof F, which is A in the
first FULL bar, is MAJOR:
therefore the piece is in F
MAJOR
�A
���Example of
A MINOR
ending. ª� � �
���
��
�
�
�� here the 3d
of A
is MINOR, the
piece is there-
fore in A MINOR
��
�� Example
of the be-
ginning 42ª42�
���
��
��� �
� N.B. Sometimes a composition in the MINOR mode may have a MAJOR ending; for which reason, it is safer to
examine the beginning, in order to determine the MODE.
Let the Pupil remember, that the NATURAL major-key is C; and the NATURAL minor-key is A; which latter iscalled the RELATIVE MINOR to the former; and that every MAJOR-KEY has its RELATIVE MINOR in the sameproportion, namely one tone and semitone UNDER; as will be shown in the collection of scales.
EXPLANATION OF VARIOUS TERMS The DEGREE of velocity in every composition is ascertained by some ITALIAN word or words prefixed to it: as
ADAGIO, POCO ALLEGRO , etc. We shall annex a list of the terms mostly in use; beginning by the SLOWEST degree,which is ADAGIO; and gradually proceeding to the QUICKEST, which is PRESTISSIMO._______________________________________
1 ADAGIO
2 GRAVE
3 LARGO
4 LENTO
5 LARGHETTO
6 ANDANTINO
7 ANDANTE
8 ALLEGRETTO
9 MODERATO
10 TEMPO GIUSTO
11 MAESTOSO
12 CON COMMODO
13 ALLEGRO
14 VIVACE
15 CON SPIRITO
16 SPIRITOSO
17 CON BRIO
18 CON FUOCO
19 PRESTO
20 PRESTISSIMO Various other terms are sometimes added to the preceding, in order to MODIFY or extend their meaning, as:
NON TROPPO ALLEGRO , not too quick etc. We shall subjoin some of the most common, with their explanation.MOLTO, DI MOLTO , or ASSAI, very. NON TROPPO , not too much. UN POCO , a little. QUASI , almost. PIù, more.
MENO, less. PIù TOSTO, rather. SEMPRE, always. MA, but. CON, with. SENZA, without.MINUETTO A TEMPO DI BALLO, dancing-minuet time.
To determine more particularly the style of performing, some of the following terms are also used: MESTO, or
FLEBILE, in a melancholy style. CANTABILE, in a singing and graceful manner. AFFETTUOSO, in an affecting andtender manner. GRAZIOSO, in a graceful and elegant manner. CON MOTO, with a certain degree of vivacity. BRILLANTE, with brilliancy and spirit. AGGITATO, agitated; with passion and fire. CON ESPRESSIONE, orCON ANIMA, with expression; that is, with passionate feeling; where every note has its peculiar force and energy;and where even the severity of time may be relaxed for extraordinary effects. SCHERZANDO, in playful and light
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE22
manner. SOSTENUTO, to sustain, or hold on, the notes their full length. TENUTO, or abbreviated thus, TEN: tohold a note its full length. A TEMPO, in strict time. AD LIBITUM, at pleasure or discretion, with regard to time;introducing in certain cases an embelishment. TEMPO PRIMO, or PRIMO TEMPO, in the original time. RALLENTANDO or RITARDANDO, gradually slackening the time.
SMORZANDO, MORENDO or PERDENDOSI, extinguishing gradually the sound, 'till it be almost lost. CALANDO,
or MANCANDO, diminishing by degrees the sound, or slackening almost imperceptibly the time; or both. DA CAPO, abbreviated thus: D.C., to return to, and end with, the first strain. VOLTI SUBITO or V.S. turn overquickly. The LATIN word BIS, means TWICE; it is generally placed over a passage within a curve line, whichdenotes the extent of the repeat.
FINGERING
To produce the BEST EFFECT, by the EASIEST MEANS, is the great basis of the art of fingering. The EFFECT, being
of the highest importance, is FIRST consulted; the WAY to accomplish it is then devised; and THAT MODE offingering is PREFERRED which gives the BEST EFFECT, tho' not always the easiest to the performer. But thecombinations of notes being almost infinite, the art of fingering will best be taught by examples.
PRELIMINARY DIRECTIONS The hand and arm should be held in a horizontal position; neither depressing nor raising the wrist: the seat
should therefore be adjusted accordingly. The fingers and thumb should be placed over the keys, always ready tostrike; bending the fingers in, more or less in proportion to their length. All unnecessary motion must beavoided.
Let the pupil now begin to practise, SLOWLY at first, the following passage; observing to keep down the first key
'till the second has been struck, and so on. The 1 is for the thumb, and 2, 3, 4, 5, for the succeeding fingers. �3 �2�4 �5 �4� 42Right
Hand
�1 and so on, a great many times.�4 �5 �4�1 �2 �3 �2 �3�3 �2 �1
5
etc.�4�Left
Hand
N.B. Let every note be played even, in
regard to time; and with equal strength.
2�3�4��5 3�42ª 2�1�
SCALES IN ALL THE MAJOR KEYS, WITH THEIR RELATIVE MINORS which ought to be practised daily.
�3
�3 2�
4�1�
1�3�
3�
2�
1�1�
2��5
�
1
�4
�
2
��C major
Right Hand
�ª�
1
�
2�3
�
3�3
�
3
�2
�
1�3
�
3
�1
�
2
�1�
1��4
�
2
�3
Left Hand5
�
1
�2
�
1�2
�
4
�
3
�2�
4�
3�
3�2�
4�1�
5�
3�
3�4�
2�1�
2�
2�
1�4�
2�
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE24
���
3�
�
4�
1
���
3��
��
��
�ª��
5
��
��A minor �
1
��
�� �
�
3
����
3
��
��
1
�
2
�
1�
��
��
�3
�
3
�
4
�
2
�
�5
1
� �
2
�
1
���
��
3��
2��
1�
5�
��
1��
4
��
��
�
1�
�
2��
4
�1�
1
��3�
�1�
1�2�
�
1
��
2
��G major
��1�
2
��
3
��
3
��
1
�3��
��
4��
�
1��4
��
�
2
��5
1
��
1
��
3
� �5�
��
��ª� � 3�
��
3��
��
�1�
�
��
�
3�
�
4�1���
��
� ��
���ª���
5
���E minor
�1��
��
��
�
3��
�
3
��
��
�
1�
��
5�
��
���
1
��5
��
�
1�
��
���
��
3�� �
��
1�� 1��
4��
��
�
1�
��
�
4�
1
��
��
��
1���
5
��
��D major ���ª
���
1
��
�� �
�3
���
3
��
� 4��
�
1�
��
��
�� �
�5
1
��1
�5�
��
��
1�3�
��
3��
��
�
1�
�
�
� �3
� �
4
�
1
��
����
1��
���ª����
4
���B minor
��
��
��
��
�
3
�
1
��
��
��
�
1�
��
1���
��
�4
1
�4
��
�
1
�
��
���
��
��
2��5�
� ��
3��
��
4��
�
1�
25FINGERING
��
�
4�
1
��
��
��
1���
5
��
��A major ����ª
����
1
��
�� �
�
3
���
3
��
� 4
��
�
1�
��
��
�5
1
� �
�
1
�
��
5�
��
��
1�3�
��
3��
�
1�
��
�
���
4�
�
1�
1
�
2��
2��
3�
��
1
�
1��
��
4
�F� minor
43���ª43���
�
2
��
3
�
�
2��
5
�
1
���� �
3��
4��
��
�
1
�
1�
��
3�
�4
2
���
�
1�1�
2�
�
��
1
�
3���
2�
3�1�
2�
��
�
4�1��
��
��
1��
�
5
�
1
��
�E major �����ª�����
1
��
�� �
�
3���
3
��
� 4��
�
1�
��
��
�5
1
� �
�
1�
��
5�
��
��
1�3�
��
3��
��
�
1�
�
��� ��
4
1
��
��
�
3�1�
1 �
1
�
1���
��
3
�
2�C� minor
43�����ª
��
�
3
� �
��
4
�
1
���� �
��
��
��
�
1
�
�2
�
3
�
�3
2
�
4
��
1
�
1
�3�
23�
2�
34� �
43����
1
��
��
3
3�
23�
�
��
�
4
�
1
��
��
1��
��
4
�
1
����B major
������ �
��
��
� �
3
�
1
��
��
��
4
��
�
1�
� ��
3
��
�4
1
�
1
�
1
�
2
��
��
��
��
�����ª 1�
5�
� �
3�3��
4��
�
1�
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE26
��
1��
1��
��
��
�
4�
��
��
ª43������
��G� minor
43����� ��
�
3� �3
�
2�
�4
��
2�
1� �3�� �
1�
2�
��
2
�
3
�
�3
2
�4��
1
�
1
�3��
�2��
1��
��
3��
� 3��
�
1
�
3�
1�
1��2
� ��4�
1�
1�
�
3��43������ª
43�������
��F� major
�
4
�1
�� �
��
��
��
3��
4��
�
1�
�
3�
�4
2
��
1�
�
4�2�
34�
3�
23�
��
��
3�
23�
�
1�
�
3�
�
�
�
��
��
3�1�
1�1
�
��
�
�
�
43������ª43�������
�D� minor
3
�
2
�1
�
� �3
�
2
�4
�
1
��
�
1� �
�
� �
�
�3�
�
�1
�
1
�
�3
2
��
�4
�
��
�
�
�� �
� ��
1�
�
�
�
�4� �
4
1
�
�
�
�
�
�1�
�
�
�
�
3�
43�����ª43�������D� major
1
�
�
�
� �
�
2
�
�
3
��
�
�
��
�
�
1�2
�
3
�
�3
2
�4
�
�1
�
1��
4�
�
�
�
�
��
�3
4�
�
�
4��
1�
1
��
��
��
�4
��4��
� �
3��������ª
�������
3
�2
��B� minor
1
��
��
1
��
��
�3
���
4
�� �
��
��
���
1
�1
�
�3
2
��1
�
��
3
��
�3��
��
4
�3��
2��
3� 1��
�
1���
�
1�
��
27FINGERING
�4
�
��1
��1
��
���
��
�
3��
������ �2
��A� major ª ���� � �
��
��
�3
��1
����
1
�
�1
���3
��
�3
��2
3
�
��
�1
�
��4
�
�3
��3
��
��
5
�14
��
��1
��
��
�1
�
��
11��
� �
4��1�
��
���
�3�
43����ª43�����
�F minor
��
�� �
5
�
1��
2
��3��
��
�5
1
� �
����
���
��
1�
1�
��
2��
�� 1��
�4��
�
1
5�
��
��
���
�1��
�
3��
1�
�
4�
�
2
����E� major
��
4���
1
��
��
�
1�
� �
1�
3
��
��
2
�
1
�
�3
2
� �
4
��
1
��
�
�
23�
1�
23�
����ª����
2�
34
1��
��
�
1�
��
4��
��
1
�
3
�� ��
��
��
1
���
�
4�
43���ª43����
�C minor
��
�� �
5
�
1
��
2
��
3
��
��
��
����
�4
��
�5
1
��
1�
��
2�4�
�1�
5�1��
�4��
�
1���
��
��
1
��
�
4���
�
3���
3
�
2
�
2
���B� major ª
����
��
��
1
��
�
3
���
�
1
� 1�
3
��
��
2
�
1
�
�3
2
�
4
��
1
��
1��
� 1��
��� 2�
4� ���
�
�
�
1�4��
1�
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE28
��
1�
3�� ��
��
��
1���
�4�
43��ª43���
�G minor
��
�� �
5
�
1��
2
�3��
��
�� 1�
� ��
��
��
�5
1
��
1� �
��
2��
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� �
5�
��
��
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4�
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3�1�
��
23�
1�
11�
5
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1�
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4
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1��
1�
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1
�F major
�
�
�
��
34�
3�
23�
�
34�
1�
45�
�
�4�
��
1�
�
�
�
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� � �5 ��
2
� �
��1
�5
D minor
�
2
���3
1�
� 1 ��
�
1
��
�� �� � 1
4�43
� �4
� � �
�ª �
�5
�
�� �
��� �
�3�
��
� �� ����
� 1
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1�
�� �N.B. All the preceding Scales should be extended, in practising, 2 or 3 octaves more, as likewise
3
�1 2 �4 � � � �3 ��
2 2
� � etc.�1�� 2� �3 3��� � � 34the Scale of semi-
-tones for the
right hand:��
�1
21
��� �3
�2
11
�1
� 1 23
2
�2
� �1�4 ��2 �2
��� ��31
� �1� 235
3
�3 1 ��
3
12����
1
�1
3 �3 � ��
2
and for the
left hand.2
4 �ª �2 �2 4
1
���3
2
� �� ��1
2 �1 3 ��� � �� 2 �2�13 ��1 ��
1
� 1 �1
21��
�� � 2
etc.� 22�4 �
N.B. The semitones are to be fingered in the same way, ascending and descending.
GENERAL REMARKS ON THE FOREGOING SCALES
The right hand has the thumb on the KEY-NOTE or TONIC, and on the 4th
of the KEY-NOTE, in the following
MAJOR and MINOR keys: C, G, D, A, E, and B.In all MAJOR keys with one or more flats, the thumb is put on C, and F.
The left hand has the thumb on the KEY-NOTE, and on the 5th
of the KEY, in the following MAJOR and MINOR
keys: F, C, G, D, A, and E.
In the MAJOR keys of B� , E� , A� and D� , the thumb is put on the 3d
and 7th
of the key.
29FINGERING
EXTENSIONS AND CONTRACTIONS ETC.
1
�5
R.H.d�1 �
5
�4 �
�5� �
1� �5�5 �4 �1R.H.
d �1 �1�5 �1) �1�5
�5L.H.
d
�5⁀1"L.H.
d ª 5�� �5� �R.H.
d
5 11��1
N.B. The 5⁀1 means that after striking C with the 5th
finger, the thumb is shifted on the key without striking it.
In a similar manner the left hand thus: ª�5 " �1⁀5 �
1
Which mode of fingering should be much practised in various ways, the LEGATO-STYLE requiring it very
frequently.The shakes should be practised with every finger, not excluding the thumb; and upon the short as well as long
keys.
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE30
EXAMPLES OF FINGERING FOR THE RIGHT HAND.
3�� 3 �2 1�24�5 �� � �1 �4�4 �3 �2 �4 � �3 �2 �1�2 �3 �2But when the notes re--peat too quick for thesame finger, it is thennecessary to change.
�4 �3 4 �3�3 �2 �
�1 �4�
3
�2 4�1��3 �24
�� �54 �1
�4
�3
�2 4�3��3 �2� �3 �2�3 ��4 �4 �2 �43 �4 �3�1
2
�1 �32
�� �32
� ��21
32
�32
�32
� �2
�21 �33
2
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21 �2
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21
�32
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5� 33� 2�� 3� �3��1�2�� �1 1
2
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4
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4�� 2� 2� �1�1� �234
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2
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34�1
2
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4
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� �41
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3
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2
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3
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3
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1
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1
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4
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4
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41
3�� 1 2� 1��3
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2
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3
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43 � � � 2
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231 �3 �� 1�2�2
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211�� 2
3� 11�� �� 2
3
5
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3� 4 5� �� 2� 1�� 1 22�� �
5�3 2� 23
12 1� 3�5�
4 11�2
2
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2�4
1 1� � �� � �4 � 1�2��2
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� � 2� 3 �� 15�
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�� �4�5�2 4��� �3� �� � 2 �5
3� 3� 3�1 215�� �
1
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5��5��2
�� 3�4� 3�� 1� 2� �2
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1�2�1�5�
2�3� 2�23
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4
&
4�5� 5�1�2�5�� �2 3�� 15� 3
� ��1� 1
�3� 3�5� 2
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3� �1�5
&
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5� 5�3�3�
31FINGERING
��5 4� 1� 4�2� 11
�1
� � 1�2
�2� 3�2�
3 1
� �3�11
2� 5�1�� 5� 2�3�� �
1
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1�5� 2�4�5� 2�5 5�4
�5�5� 2 � �4�2
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5 1
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1�5��
5� 2�1� �2
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�� 5� 2��12
5� 4� 4���5�
1�1
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2
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5� 5�2 1�2� 3�4� �� 2
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�� 3�
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51
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5�1
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5�4�2�1 � 31�2
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5� 3�3�2
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5�3� 3��5���5�
2�1�2� 3�2�� 1��2��1
3� 1��� � 2
5
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3
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3
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2
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� �1
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1�51
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2
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4
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2�31
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1� 5�2
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5�2�4�
1� 2�2�4�
1� �5�4�1� 4�1�� 2�� 2�5�� � 4��5� �2 4�� 2�� 2�� 1��
4�� 2�5�� 5�1�4�1�5
��5� �
2
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1
�3� 2� 1��5�
4� 4�2
�1� 4� �
1�5� 4�5�5�
2���4
�1
�2� 4��1 �4
� �1�24
bis
�� 3�� 24
bis
�� 3�2� �3�4� �5� � 4�5�� 4
bis
�� 2�3��� 2�3�� 5�3�2�� 12� 4�� �
� � �4�
�2�� ��
24�2� 5�
5� 5� 21� 3�4�5� � �1� �2�2�1�5� 4�4
bis
�� 3��
� �5 � �� �1 �bis
4 downward 9 or 10 bars longer, keeping down the thumb
and every finger as long as possible; being one of the best
exercises for opening the hand.� � &�2 �3�3 ��� � ���2�
5
�1 � ��bis
4�
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE32
15��
15��
1But when
wanted
legato, thus:
15��
11
�55
� 5��55
� 15��
15-4��
1
�5-4��
14��
�1
� �5� 1
1
�5
5�1
�1
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�1
�11
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�1
�� 54
��1
11
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�
��32 ����53 ��
31 ��
531 ��
52��41� ����
32� ��
32 ��41��53 ��41 �� ��
41��
31� ��
52 ��� ��
52
���52 �� ��2 ��41 � �� ����
41 ��
52��53���
1 ��424
��425
342 ��53�� ������
2
��311 ��42��
3
�3
��31
� �21��21 ��41���31 ���53 ��42��53
1 ��3142��213�31 ��
423��
5
��53
3�� �42 1
��42
� ��42
31�� 1 ����4��3 ��
thus:or
42 ��
42���
42
� �����31 ��42
�42
53��53 ��31����
31 ��533 4
�����31 2���42 ��421
4
��31 ���422�2 �42 ��53� �� �� ��42�53� ��
31���
3
� ������� ��53 ���� ��31
��� �����Staccato
�42 � ���31
31
���31 ��
311
�53 ����31 ��42
42 ��
31� ��53�� ��
41
41 ��53 ��42��42 ��
42��
42 ��
31� ��
31
31 ��42��
53 �� ��53��53 ��
42��
51
���42 �51�
42
� ���51
legato
41 �
52
��51
��41�52 ��
51 ��42� ��42��
52� � ��
42 ��
42� �� �42 ��31��
31 �
� ��25
� 14
����12
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��15
�� ��1 1
3
��15
� 25����
1
5��2���5
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3
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1 52
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15
25����
legato
� 14
��� 13
��4
14
����52
52
��13
��5
��13
��
2
��
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2
��42 ��
��31
��31
��42
��42
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21 ��
53
42 ��
31
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5
�53
4
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42��31
�31 �
21
��2
31 5
3��53
��31�
2����42
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1 ��42
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�� 5�4�2 1
4 3
��1
3
��� 4��2 - 1
��1
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3
5��2
4��2 1
4 3
�2 1
4 3
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4 3
�� ��2 1
4 3
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�5�5�
2
4 - 5���4-�
1
� �4 - 5� 5�� 4� �
2
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1
�1
� �1 - 2
�5�
��2
4
�5 ��1
4
� �5 ��14
� ��24
�5��1
2
1
3
�2
� ��54
��1
�54��1
�� �5��2
�53
�1
21
��5�
33FINGERING
THE LEFT HAND.
2 5�3 3� �3��1��� 3�5 2�2
� �1
�5
�5
�� �
1� 3�1��2�
5
1� ��ª 4
1
��11
�2
� 2�1
3 4
�3� 1�� � �3� �1���
1
1 �2�2
�� 5
�1�4�1�5
�1� 4
�1
�5
�43�3
2�ª 54�3
2�43�� 1
1��11�4� 1��2� 33 4
2
��32��2�1�2 �� 3 1� �4� � � 4
2
��1� 54�1�5
�1� 2
2�1�5
�1� 5
�1�3
2��
5
�1�2� 1�� 2�1�2�1�5
�1�2�1� 4�3�1ª 3�4�3�2� 3�4�3�3�2�5
� 5
�� 4� �&1⁀2�1�1� 2
�1� 2� 4
�1�2�1�� 1� �2�1��
5�1�3�2
2�1�5
1
�5
�1
��2
�3
�3
��4 5
�1�ª �
1�1� 2�1�54� �3� 1�� 3� 3��3� 4� �4
�3
�1�3
��3
� �1�3
�The majority of the preceding passages for the right hand can be used for the same exercise with the left hand,
by the ingenuity and industry of the pupil, which is very advantageous.
PRELUDES AND LESSONS
To preserve the order of keys, some of the difficult are intermixed with the easy lessons: but the pupil mustpractise the easiest first. Viz: No.1, 2, 3, 7, 8, 9, 12, 15, 17, 18, 19, 20, 21, 22, 23, 25, 26, 29, 30, 31, etc.
LESSON I
PRELUDE IN C MAJOR
3
�5�
����1
�2
��5
124
3�2�1
42ª42� 5�3�
3
12
�2
�1
�2�1�3�
��
5�4�3�
24
1 ���� 2�1� 3�1�2�
�����1�2�
�
3�4�
AWAY WITH MELANCHOLY: BY MOZART
2
f�
��2�
5�
4�3�1�2�1�
1�3�Moderato
�ª��� �
p4
�
4�
�
4�4�2�1�2�
4�
4�3
1�2� 2��
2�1�2� 1�3�3� 3�
4��
�������� ��
�� 3��1�2�42��ª
�7 2��41�� ��
�2�4�
�
5�3�
3�1�12�
4��4�
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3
p�
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2�3�3� 2�
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3� 4� 3�4
�
5�
ª�13
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1�2� 3�1�3��
�2� 2�3��
���
42��
3�
�
�� �4�
3��2
f�
1��
5�
4�3�
35PRELUDES AND LESSONS
LESSON II
ARIA
����
�����
4�
5 5�
4�1
5
p�
5�
1�
�
5�1�ª
42�5�
� 42
2�
3�3�
2�5�
�5�
2�
5�
3�
4�
3�
4�1�
�5
1� 4�
1�
1�2� 3�2�1�
3�5� 5�
2�3�
��
��5�
2�3�
3�
4��
1�
3�
5�
13
3�
1��ª
�1�
1�2� 3�
5
�
2�
5�
� 4�
5�
3�1�
5�
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3�1�
4�
5�
�
4�
4�
2 2�
5�
5�
�
53�
2�
�
1�1�
1
f�
LESSON III
AIR, IN ATALANTA, BY HANDEL
��������
2
�4�
3⁀2 �3�
43��2�
1�5�
2�&
�5 3�
3�2�
4�
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1�
5� �5
Ï
1�
5�2�
1�5� 2�3�2�4�
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2
2�
3��3
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Ï 1�4�
2�2�1�
4�
5�
4�3�
5�
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4�3�
5�2�1�5�
5�
2�3�2�5�5�
&
ª�8
2�3��4
Ï3⁀2
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3�3�
4�2�
1�5�
2�4�
4�2�
4�2�
2�1�
2�3�
3�2�3�4�
�3�
2�4�
5�
1�2�2�
1
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE36
LESSON IV
AIR, IN SAUL, BY HANDEL
1�1� �
3�
&3⁀2
�2�5�
3� 2�2�
1�2� �2�5�
3��43ª43� 2�1�
5� 2��
1�3�
2�
3�5�1� 5�
3�3�
1��
5�5
�3�
��23� �
2�
3
�1�2�
3� 3�
4�2�2
2�2�1� 3�
2�1�
1�3�
�� ���� ���1
5
�1�
�1.
3�
4�1�1��2 �3 �
1�&3⁀2
��4
�2� �3
�2�1
�5�2�1�10 �
ª �1�2
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2. �12�
3��2 �1
�52
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4��
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3��4�1 �5
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4�
2�1�
1�
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2
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ª�
3��1 �2�5
2�1�
5�� �4��
4��3�1
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�1 4
�1 �2
� � 1�
4�4
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3�
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�� 1
�
5
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1�
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4�2�1
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ª
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�2�3
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�5�3
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37PRELUDES AND LESSONS
&
�3�
4⁀5
��3 3��4�1
3�2��3�2 �1
�25��2�1 �1 �4
�1
�2��37 �
ª�
�4�2
��5
�5 �33
���2
�2⁀5
�1�
2 �5�2
�2�1 �3 �5�5
�3�
�4�4�2
� �2�1
�3�3
�4
�3�5
�2�1�2
�1
�3�3
�51
�1�2
�3�
����
�5
�4�1
�3 1�
4��1�1
�2 �3 �2�2
�3
�2 5���
�2�2
�1
�5�48 �ª
�1 ��3 �2�2
�4
�33
�1�2
�4�3
�3�4 �4
�2�1�13
�5
�5�3
�1�2
�
�4
�1
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�4��3
�3�4��3
�3�1 �3 �1
�1�2�2
CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE38
LESSON V
DEAD MARCH, IN SAUL, BY HANDEL
��
24
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5
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35
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LESSON VI
ALLEGRO BY CORELLI
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LESSON VII
PRELUDE IN A MINOR
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE44
LESSON VIII
PRELUDE IN F MAJOR
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LESSON IX
MARCH, IN JUDAS MACCABEUS, BY HANDEL
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LESSON X
SARABANDA, BY CORELLI
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE48
LESSON XI
GIGA, BY CORELLI
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE50
LESSON XII
ARIETTA, BY MOZART
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LESSON XIII
MINUET AND TRIO, BY MOZART
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE52
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53PRELUDES AND LESSONS
LESSON XIV
LE RÉVEILMATIN, BY COUPERIN
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE54
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE56
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LESSON XV
PRELUDE IN D MINOR
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE58
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LESSON XVI
ALLEMANDA, BY CORELLI
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE60
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61PRELUDES AND LESSONS
LESSON XVII
SARABANDA, BY CORELLI
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CLEMENTI'S ART OF PLAYING ON THE PIANO FORTE62
LESSON XVIII
PRELUDE IN G MAJOR
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63PRELUDES AND LESSONS
LESSON XIX
TRISTE RAISON
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LARGHETTO, BY PLEYEL
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LESSON XXXVII
MINUET IN ARIADNE, BY HANDEL
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LESSON XXXVIII
MARCH IN THE OCCASIONAL ORATORIO, BY HANDEL
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LESSON XXXIX
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LESSON XL
ALLEGRO, BY CORELLI
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LESSON XLI
PRELUDE IN B MINOR
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