ILLINO I SUNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN

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Cou~rt piarnst to his Majesty the king of Prussia. and to his Royal ffighriefs the hereditary prince of Wilhttelab erg

Translated fronm the German by ALBERT RUPARSONS.

Preparatory method. Exercises to prepare the liana for playinq octaves......Pr.

Seven exercises and studies comp~osed by TH.K1JLLAK.. . . .. Pr.

Passages, exercises and examples of octaves from the works of BENDEL, BRAHMS,

B1JLOW, CHOPIN, IDREYSCHOCK, GRIEG, HELER, HENSELT, HUMMEL,IEL,

KUJLI.AK, LISZT. L1TOLFF, MENDELSSOHN, RAFF, RUBINSTEIN, SCHUMANN,

SEISS, TA1JS1G, THAILE ERG and WEB ER...........i.....................Pr.

New Edition revised and enlarged by the Author.

*NEW-YORK, K YI 2ER INQ. SCHIRMER SCHLESINGER's Buch-& Musikh.

0P~L 23, Franzosische Str.Copyright 1876 by 6G.Schirmner.

S. 3371. A.

Stich der Ilider'sehenuot jit,

4)

PREPARATORY ETHOD.

FIRST SUBDIVISION.

Preliminary Remarks.Z) Facility ill a)1Iyillg octaVes essentially (lepends o1 the cultivation of the wrist. whose

t1ui ist C .11twvo %ayis:a) For staccato playing, in order to effect with ease and without stiffness the upward

donvward strokes of the hand which are necessary in order to separate the tones;b) For ltegato playing, in order to support the hand ii its rising and falling motionswl

servcs as t weigh11t incllreasing in the fingers which press down the keys, the force of pressureefor connecting and sustailling the tones. By way of distinction from legato playing based uposiiple "stroke from lic knuckle;' this is called: Legato playing with the aid of the'wrist

2) Inl the second place, is to he considered the cultivation of those fingers which are m

cnlpied in playing. octaves. The chief finger is the thumb1h, next to it the t l and 4t11finge73 (j and t2! are used ill (a very sublordiniate capacity, only. But the three principal fingers 1,quire, particularly for playillg' legato successions of octaves, quite a special schooling, for t sl)le reason, that in colnseq{uenIce of the distance separating the lower and upper tones of thterval of the ovtave, they are comiipelled to' take positions and exercise functions which devtterially from those of the iiethod of simple playin g.

1. St~aecato to aying.Striking rcl)eai'vdltv one and the same key; fin, eriig : Lt.5; simlple., touch (stroke) fri )1 the. witA kk wlo geledge shooaly otheonoscholarlysch lapositiogna d of c rthe rlbodyh p scholarlyti per asittingr - rmandng thesu ocorrectsi plangular wr

il)rquires the independence of the hand from the armi which the plyemullst srv to kein t

nrapoiinThe upward and downward strokes of the hand uimast be execulteI with the utmost possible iority.A c ecc a t s require a higher upward stroke so that it 1may be possible to combine g'realter oc

with the downward stroke. Each of the following exercises is to be repeated severa~l times coneuively in the same, way. The unoccupied fingers are. to take, an un1constrained position. With incrin

routinle, the tempo may be accelerated and attenitiomj paid to various degrees of force (p.'et)

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Copy rig;ht 1876 byG. Schirmer. .: t. :A .( )

Andc SO torth, through 1the

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Iri't ice with t lie left h id too, the right hand playing the

same aecomnlpaninent.

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II. Legato playing.j ) o i e is the technical expression fr the foriation of tone on the pianoforte. In the theoryo

three momentlllll S are distinguished: _-.

1) Preparative -i the u1pward stroke,2) Toee-producing _ the (dowIiwardlstroke,

l3 ) 'I'ontc- sustaining - that impressure"aid "expressurie" (pressing iii anmd o itt) of the key by the finger, which 1orrespouds to the let oftie tone or the value of the note.

The height of the upward stroke is determined by reqiiremelnts both in e e h a n ic a 1 and 1i i

If 1) e fo r e the t o i ec-p r o d iiu e inig moment, the finger be distinctly removed from the ikey, t

is S; t r o(k e - p 1a y iIn g iii the strict sense. But if this removal be slight or wholly impercthere results that species of tone formllAattioni whic(h I designate briefly as "P r e s s i r e_ p lay igh

en11 use there is more of a, feeling of pressure in the haid, than of striking. Although this dist

ny he (tlle1 more quaititat1 ive thaiLn specific, a lon;' series of experiences in the sphere of p

tc instruction ha-ve deterinted me, nevertheless, to initain it with all strict ness

The mll s i e. ia I centre of gravity lies in a fuller rounding of the tone ini the d e I. i v e ryo

in e 1 o d y . For in e e h a it 1c a'.I 1 reasons. this touc(h is imdispensalble, whenever ti single f ingerhthunh

lot' iii~t,1iice - has alonie to connet a series of tones; for then the least removal of the .finge ro thkey woulld prevent any legato.

2) Legato octave- playing belongs in the sphere of p r e s s 1i re- p l ay ing. A strict c ot li Ii O

o f t oni e s can here hte ef'fected only «vheii the fingers engaged, press down the keys, while the hnby' its weight augmients- the strenlgth of the supporting fingers, and cooperates by hurdeniig then tw

thbrought the e' 1 e v a, t i o ii and d e p r e s s i o it of the wrist . Iii couniectioti with this, the tipper rand tore arin become lt'symlpath1etic'ally eliag;ed the fore -a iiiiiinar" t icular h'ing e(o inlpelled topatc-

patte in the miottions of' the haned. Even if the w'ide stretch of the interval of the octatve permitted cone(n

t:It i pla i h tlru gh t e t i(str oke ) from the knuckle"' after al , o l y t e fi g r 3 ,__c f 1 the re u r m n s o t i "p c ftouch; in e1,e onlyl * ve i the fingersst up w4rd sto uld'sd

unavoidably destroy at once all connection of tones,. in the stricter sense'.

3) The motions which form .hekrelo e ,t octave -playing, are best illustrated amid ac(quirdbtaking an w1tave on the -whlite keys wVithi the 1:-t aid ritP1 fiiigers, and theta, w it Ii o att letting go the kyfirst raising the wrist anld then lowvering' it. .This elevation and depression' should, measure as nearlyasp-

sible the same distance; and should moreover be practised ini measures, i.e., countiing, and ini a detfjtietnpo. This oncey learned, the oily problem is to retain these mnotionis ini passing from one key t nte

After giving some attention to the examples marked a) h) c) d1) e) 'f) select . -

S. .8871.A.(fl

4)}aFor. the first exercise, a fragment of the chroitiatic scale(I). Use the fingers i for the whiteeMild 'i.4.for the. .black. On accounit of the higher position of the black keys, the hand should he heldl fwhliite keys and raised .high for black ones: therefore,

for c _ depression,for c#_ elevation,for ' -depression, ete.

5) For the second exercise, select from a diatonic scale a frag'ment in which only white keys ocrexample;- c d f g ,use alternat ely the 'fingerings 1 _.5, I _ 4, elevaltng the hand each time that thgers IL4 are used, and depressing it each time that the mt and 5SO occur.

6) For the third exercise, select the entire chromatic scale. Here unlike either in exercise 1,white.and black keys alternate throughout, or exercise II, where white keys alone occur, weuieoilerof two keys, side by side, for both of which the depressed position of the hand is required: #'/, Ithis case, nothing avails but to slide the hand sideward without change of position and with a.iior iflexible wrist, or elste to change fingers silently upon one and the sme key.

7) For the benefit of pupils who are able to use the 34 finger in spanning the interval of the otit may be observed, that this finger is to be treated in the same way as the 4th.

P. signifies depression of the hand; S.P. Sideward -progression.E. signifies elevation of the hand;Arrange these exercises for the left hand also.

) A. :. 4. b)f.n E. . E

i C

P. L. d)% _. 1). .

Normal position of the hand .

Ill. Schooling of the separate fingers engaged in

playing octaves.

The 0 bI i c f 1 in g e r is the t h u in i, because it.is used in every octsive, whether executed

or staccato; next to it the 5Mi' and 4 th fingers, and finally for large hands, the 3 4.7Ihe h111(ti1 call ilove in 4 directions: up-ward, downward, from right to left and from left to

Thle latter two are calledI sideward motions,But assuminu' that at least one finger already rests upon some key, .5 positions (f the hand

are possiblle1) N o r in a 1 , i.e. ill parallel relationship to the keyboard underneath. Ini order to illustrate

sition, lay the entire hand upon the keyboard within the space of r or 6 keys (the interval ofor sixth) extending the fiiigers so that even the palni of the hand shall touch the keys; thj bn

under the fingers 2 .to " inclusive, in such a way that ,they shall take nearly the shape of hai

the fitiger " cushions (tips) resting' oil the keyboard immediately beneath the nails, and the thumb e

sing its key with the lower sheath of its nail. Finally, draw the hand back just so far that, w

of the fingers still retaini their hold upon the respective keys, the palm of the hand shall notouch the keyboard, but be held f r e e, in front of the white keys.

2) he second position of the hand results when it is elevated a b o v e the normal positio

the arallcl relationship to the keyboard changed to an angular one;3) rThie third, when it is -depressed b e 1 ow the nornal position;

4) rlie fourth, -hen-a supporting finger already lying on some key, being assumed- theh

takes a d i a g o na I 1 position towards -the keyboard f r o in that finger, and in- striking'dow rdp

on a nea r key, it moves from left to right.5) And fiinally, a fifth-position, whienl at least on e supporting finger being assumed , th

tion is from r i g h t to l ef t.Thlie. stroke of ai fiinger within the normal position of the hand, the stroke after previous

ciug . it diag'omally (see 4 amid r,) may be' accomplished without causing the arms, particularly thefr

arm, to give uip its own normal position, but permitting it instead , to retain that position.(oc

through previously turning the hand sideward, S i d e w a r d s t r o k e) . The sideward -stroke bc

nInes highly important in arpegg iated- octaves (see Appendix) .

IH e in a r k . Turning the hand sideward affects the arm sympathetically inl so far that itisc

stud to turn slightly on its axis, without, however, leaving its place.

A. The Schooling of the

wit-h it a cross). The touch is from the wrist, and probably in the combined form in which b

hull a nd wrist are used simulta neously.

S.3371.A,(1)

2)With at least one supporting fin ger.The production of* tone. here occurs through the sideward -stroke, i.e. through a sideward ele

of the hand before striking, in which the line described by thie knuckles is no longer a horizonThe best supporting finger is the " tP, because from it the thumh side may be elevated the hhNow, this sidewardstroke does not indeed occur in playing octaves as.double-notes. But it isnevertheless, thus to practise the following exercises in this branch of technics as well, becaethis means the thumb will gain both in .certainty and skill.

b) For Legato - playing.

The same -exercises; only, with this difference that 110 vacancies between tones are permisslthe thumib must learnu to connect tones by itself. It can do this by e o nt inti iag t o p ressd(pressure _playig) with o u t (exactly) s t r i k in g; effecting the connection of tones by ginstead, either side wards, or (fromt a black key to a. white one) d o w nwa r d s (gissando).

Practical exercises for 'schooling the thumb.To be practised in three ways:i) Staccato, without any supporting finger; upward and downward stroke from the wrist.

2) Staccato, with a supporting finger sideward- stroke.:3) Legato.

Iii s t a c c a t o, accented tones require a hig'her up w a r d, and a ore focbl 1 o w ii ward-stroke; in 1 e g a t o a firmer pressure of the key.

Might hand.

V i. w

S.3 71A. i

8

Right hand.

8 37.A.(>)

3!1______________

B. The Schooliig' of the Fifth and Fourth

(also the Third) Fingers.

a) For Staccatoplayinii

1) N'Nit h o 1 1t a n y supportin g finger. First practisetithat, omi ittif ig the supporting fin g er indicated in the notationeachof th thre

fingers r, 4, ,3, shall in turn play the exercise separately and alone. In doingthis the fingersslightly extended so that nearly the entire cushion (at the cd of the finger shall fall uponTthhfkeyThe thumb should be held apart fromthefingersewhich the g p of an otave involves. In rapid tempo, only the t o uch f r o i t Ii e w r i s t can be used. In playing io

wly, (excluding the touch from the knuckle), the touch from the elbow, and the combined formhstroke from the elbow and wrist simultanleously, may also be practised.

2).With (at least) oine s up p or tiii g f iiig er. Here, as in the schooling of the thumb,d e r a r d - s t r o k e is alone applicable. The best supporting finger is the thumb, because it redrp

sible the highest upward stroke of the 5t,4t1(and !3q) fingers. Each exercise is now to be eewith the nth only, the 4 th only and (with suitably disposed hands) the 3q only. This kind of pr

and in part that prescribed in N? I,,is recommended, like the sideward . stroke of the thumb,

the general strengtheninig of the fligers thus attaini d, is very serviceable in octave .playing, atogit' there 'finds no0 application 'in precisely this form.

b) For Legato-playing.Pressure . playing. In order that no vacancy shall occur between the tones, it is necessary t vi

Aliy upward stroke by the respective f ini rs and to have the finger.- cushions adhere strictly tothkes

l e a i i f t e h n , u w r s d p e s o , d w w r s h i g r , a continually interchange as m uch as possib~le. For black keys use, generally the ?0_t11 (and :1-1.S o (

there occur in immnediate succession 2 k ey s requiring the samle position of thet' hand,11se eithe hsideward.. sliding motion, the, silent exchange of fingers on one and the same key, or the glissmd fou

a black to a white key. The anomalous passing of the 4th (or 'q) finger o v e r the sth , Mad thean]malous passing of the latter finger ii n d e r the former ones, (leserve special consideration and shoing. "Stroke -playing" in connection with a strict binding of the tones, is also to be practisedatfr;

, 33 71 A .Li

I ()Practical exercises for scliooli ng/

the rich, 4th and t d fingers.To be st udied in three, ways

a) S t I aeC cIat o 0 Wit1 it O t an11y Sulppo0r t ing f in g er. lipward and (Iowuwa r(d stroke ifromll)ewrist

Each -exercise to be practised by but one finiger, alone, at a time.b) s t a e c a t o w it h a supporting finger. Sideward - stroke. Trwo fold fingering: t) for each ee

cisc, but one finger at a time, therefore the ith alone, the 411)h alone, and (where pra cticalble) h valone. 2~) with the use of the fingering required in legato- playing, which is given in figures oethe notes.

C) Lie g a 1t o , with arid without a1 supporting finger.N. Exercises extending beyond the octave cannot, of course, be played -Nwith a supporting fingr

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IV. Both fuinctions of the wrist combined.Iii stroke -playing-, we are concerned with anl upward and a downward stroke; in pressurephii w

art elevation and a depressioni of the hand, the fingers ieaihiw e resting firmly in their placehas already been observed, it is through the method last described, that legato 0 etave-platig iaccommplished . 'But the elevation and depression of the wrist ilia}- be employed wAith t l 'ie etotrni

in 'staccato octaves as wiell, and indeed simltane ously, especilly w \Ahere the execution of ver lii

and rapid octave Passages is concerned. (For example, Schubert's Er'iking, L iszfs Hlunm.) ( Rap,dy in P/if -_B//at ). For this no rules (strictly speaking) canl be given; sonicppracticatl sub;sios

however may be, grouped together;.i) For black keys, g'enerailly .elevate the hand, using at the same time the 4 thI (or. '3) fing e~lthm

the use of the 5tl1 is by no means excluded,

2) For whvlite keys, generailly, depress the hand , using' the Mbi-1 finger chiefly although the othersexclred

3) In flte case of notes of equal vaiu&6 dem andinig a repeated striking of oiie and the same key h a ek n , s c h t ot r g l rt i h le nto f ee ai n a d d p eso , or.kee

2, 3, 4 or more strokes successively in each position of the hand, elevated or depressed.A skilifull, well-considered use -of this elevation and depressionl, and the utiiost llnitolniilty otiiso

in their alternations., constitulte the best means of preserving the hand and arma from fat igue an1stlt1itess in lo g-extended octave passages. Overmuch caprice in. chan ging' the positions of the hand rt o uqit ad un eti l y n ' fe t ef rg i g b evton ,t eflo ly e e asl

quire no further comments.

S . :n7.A. 1)

71 kj

Practical Exercises.E sig"nifies elevationi, a. high position of the hand:/9 (l epression, at low position.Exercises I a) b) c) d) e) are to be 'studied with the retention of one and the same ttemlps.

S.9 i1. A .(1.)

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.1 4

SECOND SUBDIVISION.

Prelminary Remarks.

After, by the use of the foregoing preliminary studies, both the hands and the fingers havenbled to fulfil all the functions required in octave playing, there now follow in this second

division, passages enlbracinig octaves in various combinations. To facilibite a systematic survey,

exalIes -are arranged under the following heads;i) All the scales, including the chromatic.2) Octave -Progressions by initervals,.

3) Passages in broken chords.4) Octaves with double notes and chords intermingled.5) Interrupted or "blind" octaves.6) Octaves intergrasped with alternate hands.7) Octave. exercises in the tremolo, the trill, auxiliary-nrotes and inGlissado.

I. 'Scales.a) It is self.evident that the scales, like everything which has to be learned, must at fit

practised slowly* and with strength. As regards the f'ingering', inl playing s t a c c a t o ,. all octavelwetilier upon white or black keys, mtay be played with the ist and 5th: fingers, if the the elbow bulrtals its positionl unchanged. Celebrated pianists, as for exanilple, Alexander Dreyschock , have idenimde this s ha11 p 1 e s t fingering the rule; but I hold it to be u'seful to transfer to s t a c c a t~lyilag as well, that fingerinig which in view of 'what' was said in the preliminary remarks, I egatoplaying requires.Accordingly, one should study:

i) Legato,2) Staccato, with the use of the legato .fingering, and finally3) Staccato, with the use of the 1s.t and 5th fingers, exclusively.b) That the tenlipo, degree of strength, rhythm, certain characteristic shadings. for example a

~jestic, pomp ous, stormy, passionate, amiable, caressing, toying - etc. -must influence essentiallytheighof the upward and the downward stroke and the elevation and depression of the hand needs noepa

naition.- As soon as the first mechanical studies have been mastered, one should hold fast to thpr-ciple,1tat for1certain Artistic 1 ends,-deviations --fromLthe --stereotyped1 rules of the.school, are--quite

S. t371.A. (fl

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ICE ) 1l18m rk{. 'Mhe fii1ingts given i here are by no mepans exhaustive, although I hav14e had in1 view not10 w)ily the strict, hIt)l1o)less st net. 140 g' to Isty~Ie Mu ich (depentds up011 t1e0cap~abil ity of extetisioniadlothier cia tai11tersit' i lie Ii tigeis ; 111(1iili i

the timet and the accent. 1he nce the genevra I rules ~l, 6, and the special ones, C, d e, J, are, loa I all tliatI ait he laid d11 t(7) in :strict 1,eg a t o playingendeavor' to chatnge fitngers contiiitally, or else as all expedienit glide do(witwardls

!) n i I~:Isilit~ 1,0 t , tke llWhie kysWith the first atdl tifth fittgers and all sin ;e black lays with the f'ituittca-

,;ily fgIigets, htowveV, Witen' sevela Il black keys occur iii Sit((e85 ot.CU It the case of wiite keys. ontly, it is at mat ter ""l'itfi eeieWhet her thle Ii fthIt i tter a Iternait es with the foitl, or thle fourth vi thithle fifIt h

4 4545454

Ex. e1'_or___(1) It' a white lax' is followed by a black key, the latter is al 11ilo sI always played with the fourttli finger.

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f) 1$ the case of two consecutive black keys the chanige is a miatter of iidiffereiicp.

The use of the third finger secures in many cases the most serviceable finoeringi. Unfortunately, howvever, it is not pracial

for all hands. Noiw, in as mitch] as a normal fingering, such as exists for the simple scales, is wholly ouut of the questio he.

1 deem it quite to the purpose for the student to attempt, with the aid at first of the suggest ions given under e, t fr4 c, a',r andfad e, opa twihthsegve y e

tofrmafigrigfo imef and tit copr itwt hsgvnb e

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II. Octave progressions by intervalis.

If' played w t a eca t o, all of: the exercises nuder this head ill;g <~ai to he executed with the first an ift.~fngers the -t ov neut oof the wrist being the same as in the scales. Ln respect to b egat o, exerie Ipc~sen4s 110 diffi' culty. LIn Nos. 2 s , ,the- fourth finger iiiulst he applied in a w'ell~rollnldel form, whilethfifth mutst be somtewhat extended. In all subsequent exercises, a L ega t o (.-Ali he hut approxiinlativel tiliedl; for the chanige of fingers -designated by the figures. is practicable only when executed with moderate raiiy

S.3271. A. (i)

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10.

S. 3:3?tA .( 1)

23

lIiI. Passages ini Iroken chords.

So, too, inl ( Ha11(IFniajor.

So, too, in A anid E maji or.

Solfoo, la -A f at and iE flat mtajor.

* ) R e rn a r k. For playing these passages 1L e g at o , it is just as impossible to establlIish a normal fingering as i11 the ca S1 fscailes, sinc e here as Well as tlheta, too much depends upon the n1atural sti'uctu r'e ot the hand, upon the tempo a it even upn11pr-ession1 Finally, iwither are all possible modes of connection determinable heforehanid , for;4

is to be fingfrered

thus ut s iii this manner

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aiind Fiiajor.

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I.Octalves wit~h d(blie notes and(IcIhord1s i nteriiigI.]iThie chords in these exercises are not to be struck, but m'erely pressed down. After bihle pressir lit

hand ust rise quickly, iN order that the following open oetaves mlay he- exi-ented wvith nLeas' mveImiuct of the.hand.

1. 2 _____ 3. 4.

5. .6.

S. 33'1.. ( I

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V. lltterruipte(oI 0a"blind" I'octaves.By interrupted or "blind" octaves, so.-called, to he understood. those prog-ressions in -whiIhoteS a

ternate "with'single tonlesO When very rapidly -execitled, somle of the followitig exaipe prodceschaeffect, theat the ear seenis to pereirve continuous otvs

Almost -all of the fingers,-rand espeecally thle particie iiteeee~ssTe r l oPlayed S t a ce a t o . rThos-e mwhich may he played L e g a t o .--Sas ell ,i' i -"d bv~ae( 1 the lpr(l'slr

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VI.Octaves initerg'rasped With alternate hands.I e xpressiormnilltergraspedI octaves?- relates to.the iIntergrasinb'of thehandsilly

two -thumbs. Whel-quickly executed, they produce an extraordinary effect, and prepare for tie eillusion of double octaves. The two thumbs aike the important fingers here, since they executtal kernel of the passage. llence, they must be applied wA-ith .certainty andI alternate withi ( equalte,that the' fundanieiit'al' figure (wh-ic4his precisely the kernel) may be reelo("'lized distinctly In the isexamplesboth th-be fundamental figrure and that part- which eac'h hand is to execute, ?e IeN i iinjotes. It -would' -he w-ell to seck f'irst of all for this kernel and~ for -the intervals Iny which eachhadito0 p r qgreps s. It issef evidentthat all1 the octaves, except those on wNAhich the principal acentsflllmost b e .'IliveredJb' the two hands with equal force.

r, l.A A7Ar7

S. 71.A.Nt

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I'll. Octave'41 exerocises in ihe Itr'eniolo, I lie trill, auxili,i-ty notes and in (disstoThe~ vibrations must follow wvith the 1uiiiost rapidity and withi an even (rollingr) fowtiEbbxamle t; 6co

taI us a comiplet e,.but very difficult trille

II* 'rem.7--

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frem.

3. Left hand over the right .

Whli play ed veryvrapidly, ucarly theS(11110 il l. ffct its;

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In the exercises with auxiliary notesi _ 6, the first and fifth fingers are to he drawn down lightlyfrom the black to the white keys.

The G I i ss ad o in octaves succeeds best wlhenli the hand attacks the first octave with force aId thei gli.

over the keys lightly and without pressure; the fifth finger being' well.rounldcd in aseiudiny ( right

tiid), while in descending, the thunib is bent in.ward and raised almnost upright upon the u n il.

5-

2 . ... . .. -,,, ..".,,. ....-... .. .. .... ,. .

p,, F I I I Li i - 1 - - ,a:

S..3371. A.(I)

APPENDIX.

7 htc I(IaV also beC included in the sphere of octa--ve -. playing. certain passitges based on octaives~hchoevrIfr are. not d-~e-ntsbtol iile tones instead. such -as result from resolin

trekig)anodave into its component parts: br~kcn or arpefogiate(I octaves. (a. b.1),)

a)

n -r'7IT'd

1)) c)

B as is.-

lPassagcs of this kind are so fully represented ini earlier and later wVorks for the- piano -forte(Bt

lioven: 0p.). ,utj oet ; cunaun: Finale of the. Sonata in G minor, Op. !223 Liszt: Ballad in i-

nor), tha.It ilost pianoforte methods treat of theni-and their ciltivatioii. (Cleinenti: Grad us ad P4ra

Sum1. MI28 Tausig's edition, is most excellent ) To indicate, special exercssfrti seiso e

talve -passtages seems superfluous iere,. it, is onlyj necessary to transform all of the foregoing txre~

seIs into In-oken octaves . The fingering is determnined b)y the ruiles for playing octaves in (louble-

tes. BOt one thing needs to be observed: viz, that such passag-es are most oquickly and certainly nase

ed, when executed wAith the sideward stroke. (See Preparatory Mlethod, Preliminary remarks to1l

4 anid )

.. 3371.A.(1)

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