Consisting of Standard Etudes and Studies, arranged in progressive order. Selected from the best composers for the cultivation of w w ww TECHNIC, TASTE, AND SIGHT READING | Carefully Edited and Annotated and Supplemented with Complete Directions for the Application of Mason's System ‘of Technics in each Grade for the production of a ut vt wt MODERN STYLE OF PLAYING COMPILED BY W. S. B. MATHEWS © 5 2 TAR Bo a= STANDARD GRADE ~L STANDARD GRADE VI STANDARD GRADE I _ STANDARD GRADE VIL STANDARD GRADE Il @§ STANDARD GRADE Vil STANDARD GRADE IV STANDARD GRADE IX STANDARD GRADE V STANDARD GRADE X PRICE, $1.00 EACH GRADE Philadelphia DONE, 01" 1712 Shosiqut Str.DICTIONARY OF MUSICAL TERMS. Accelerando ( pronounced» alskelerando, becaming fate, acl cman, Adagio (prom adsixe, sly ‘Ad ita, ar you please plate (prom, ajetats), agitated, exited sleet, dies, somewhat fast Allegro (AP), fant, rapid Andante (And), so movement, gui Andantino, zomesha faster than Andante. Animate, animated, fall of ral Aepetsio (fron arfejte)s harp-like: Breaking or detaching the toner of chord. Asal, rey A tempo, i requ tie. Ta, the base is, tice. Cadena, brilliant foursh fore the lose of @ pee Calando (CL), geting aver and sft Calms, cated down, gue Cantabile, Cantando, ra singing st, sole Com, with Content, the distinctive gual of any pie Crescendo (cts) (from Aretheds), creasing in force, Da Capo (D.C), from se dginins Dat Seano (B. 5.) (prom dal seye, from the sen fp Diminuendo im.) decreasing i strength Does (dol) (prom dolby), sf and sue. Energi (prom ener), with nergy and wer. Finale /enalleh, the ast motement of te tage form. Fine (prom. fenay), ond Forte (J), ld and stn. Fontisine (7), ery tnd, (Aff). a8 loud as pose Forzato (forts) (7), Strato Cf, Y), stv accentuate aslowo (gratis), Con rai, cracls argh, ot a5 sem ar Largo. arp sine, protracted: sewer than Adal Legato, ted, bound Legatisimo, 2079 much downd Leno, sw. stesso Tempo, Me same emp or ine Loco, fly the notes as printed (ased 10 indicate dicotinuance 0) Macstoso, sith majesty diguled. Mareato (nst,), made prominent; strongly marked M. Da, wight hand M.S, lt hand Melanconico, 1a Meszo, gf, Mecaoorte (m), miiing loud; Mes2opiane (mp), ‘midi softs Mena voce (om. £.), ith sappresied ttc Moderato, moderately Malt, ery, much, many mp, mesons place (prom. pitehaye), ae you pease, af srarure Piano (feof: Panssimo (99), very salts (ppp), as sty as “peste Pru, mores Bu moo, fete Pzscat (pitscale), picking te string axon the guitar Poco, un poco, a litle; Pocoforte (yf), somewhat oud. Presto, quiets Prostmimo, ery quick Pale, cunt, beat allentando (tal) rearing he temps Ritedando (ard, it), earding, slower by degrees Rite (les, Holling bach Schersando (hers) (prom. shertando), gay sayfa Scherzo (prom serio, altel composition Septic, simply, plan Sempre; always Senza, wien ‘Senza Pod, without pedal Sil, simian, conning in the some manner Somenito (saten.), sustained Sotto vce (prom. tathay), softy as if in an undertone Spirton, Con sto, wither, led Seacrato (Hace) cut af suddenly sort tone. Tempo, the me or measure of time Tempo dt marca, i march tempo. eto (te), el “Tut, at Un poco, a Ht Vale, wale a dence Vivace (ron. sertatehay), daa Vivo, sre— ep ! Consisting of standard Etudes and Studies arranged in prc ive order. Selected from the best composers for the cultivation of TECHNIC, TASTE and SIGHT READING, a — jarefully Edited and Annotated and supplemented with Complete Directions for the Application of Mason's System of Technics in each Grade for the production of a Modern Style of Playing. COMPILED BY W.S.B.MATHEWS. ~ a —— ———— STANDARD GRADE VI" “ STANDARD GRADE I 3 HAR ae ft STANDARD GRADE VIL . , STANDARD GRADE Vil" STANDARD GRADE IV =< = STANDARD GRADE IX STANDARD GRADE Y \ STANDARD GRADE X PRICE $100 ACH GRADE. Philadelphia “Phoodore Fremor@ IN2 CheshpuSic LamgrQn Wy 7 PresserELEMENTS OF MUSIC NOTATION sFrohte or G Clef == THE RELATIVE VALUES OF NOTES, RESTS, DOTS, ETC. Each note or reat is twice the length of the succeeding, inrouped rouped xtouped Nore: wat nrter | Blgieh Slateenth Thiyeet ners HE= Ea a = Dotted Not¥s, 4 dot placed attera note increases its length by but a dotted half (4) ia equal to cavee quarter notes (ded); te. ‘ny hls Es nla rte) Tv eal inne teoaifmes When ere data nr placed arate the secon dyed he ble dotted whale nate would therefore be ifnote aid a quarter note (oa); but edotted whole note (oy) equal in length to ?hree half value ofthe first. A eter (242), Soa half note (S}leequal to feo quarter notes eal, equal to whale hate, Bor Double Bar Measure Repeat = a EXAMPLES ON THE VARIOUS KINDS OF TIME ACCIDENTALS Double Time Triple Time: % x orf bbb Sharp Doutie Sharp Flat Double iat Natural ‘Sacer Siar B eataral SECTION OF KEY-BOARD OF PIANOFORTE TREULE CLEP SI | BASS CLA wiser t Pr Ga Bo DEF , ar Copyricht 1082 Tao ve Treo eee GABCDEFGABCDEFGABEMASON’S TOUCH AND TECHNIC IN THIS COURSE. Ie sof te “Runa tel are nt oh Stas ecteetn. ore coe Estes at nse ais iat anette” eae BESS i es eee el serbian i te eat Ro Sitaest EPL evn ent mn ces me RG Wena ter ley. All the ingr joints are curve, so that the entire outer, ie titers bat Wee weer ae do not make a iaight Line upon the keys ta curved ine, deae Di ecient Soe tariete m GEES fale ec ot ee See itt Oo ar i owen no mettre te cul tie Geceyeatahy Stat ike DPC ss re mg a vita nen anlar ot Ee estheuiccaa at ‘After the hand position has been acquired, begin, with “eMason Two-Finger Exercise in clinging touch, No a. When, this is carried through the fingers successfully, which it will be after a few minutes’ training, give the first steps towards the exercise for elastic touch, No. 2. ‘Thus the two-inger practice will go through the frst iesson in these two types, Rt the second lesson improve the elastic touch, an introduce > the moderato form, No, 4. Henceforth these three forms go together, a8 the first part of the daily practice. About the ‘eighth of tenth lesson introduce the second rhythm, Nos. 3, 5. Grete. Henoelortirtarry all together, or ifthe dally practice & too short to permit so great a subdivision of the matter, ive the ft rhythm at ne Ieson and the second at he next {nd so on alternately. Apply the various forms of expression jndicated in " Touch and Technic," soe Nos. Sto 13,ete, About the Bteenth lesson introduce triple measures, Nos. 14 t0.16, tte, and the velocity forms 17 to 22. About the twentieth fesson take up the broken thitds, Nos. 23 to 40. When the pupil has worked upon these for about a fortnight, recur gain to the exercises in the diatonicscale, Nos. to ze,” Later ss game back once more to the broken third forms. 5 "This will be sullicient for the two-finger exercises during thie grade, The daily practice should amount. to about fifteen minutes upon them. The light finger touch in playing will be facilitated by the practice of the Plaidy tap- lets with each hand separately (see No. 53). Later the five: finger forms will also be useful; and still later the scales, ‘THE SCALES. ‘grades at least five scales should be "Bach scale with one hand at a time trick (€.., the instinctive selection Signature) and for cor- rect fingering; and then in rhythmic forms of various kinds, preferably in a compass of one octave, or at most two. In Simple forms, with one tone to a count, in 4-4, 6-8, and 9-& ‘measure, continsing each form yntil the accent is completed by falling upon the tone where it began Later the same, all measures of 3, 4, 6. 9, and 12 counts, with two tones to Unt of ines and aervards wih tre, Stil ner wth Fou “Rhythmic Table” may be interposed at any point where itsoems adviseble. See “ Touch and Technic.” Vol. IT, Exere cises a, by c, and Ex. 2, 3. 4. The scales in the first grade Should’not exceed one setuve compass, and never with both hhands together. For a complete table ofall major and minor scales in one octave compass see the last page of this volume ARPEGGIOS, It ig a matter of choice with the teacher whether the Ar pesgio or the Seale should be given first. Upon the whole Berhaps the Arpeao wil be tte on acct of is separa {ng the fingers, and using the fourth as often as any of the others. Moreover the principles of accentuation and of rhythmic grading are more naturally ‘applied. to arpopsies {ha to als, And he resulting amples uniies are more easily apprehended by the pupils nthe First Grade, or the Second at latest, give the Arpeg gio of the C position of the diminished chord (" Touch ‘nd Technic," Vol III, Exercises 1 to 3). This s to be done orally First teach the placing of the fingers over the chord, beginning with Cand skipping over two keys before putting te next finger down, 20 that the fingers are equally separated. At ‘the next lesson transfer the decent, and twgin «pon the exercise in graded rhythm, giving atthe first attempt only the quarters fan eighth notes, At the next lesson give the sixteenth note rade, and apply the same to the transfer of accent, Ttis, of course, understood that any of these exercises may’ be introduced as the teacher conceives best; and always in foaly a small amount with any one lesson, "The tendency is 1» make the technie more fluent, surer and more natural EAR-TRAINING. It will be much better for she musica! faeure of the stwis¢ ‘fa certain amount of ear-training be administered in conjunc- tion with the exercise of reading from the notes. It is desira- ble that the student learn to seize an entire group at a glance, just as one reads an entire word without spelling it out. Pre liminary to this, the staff can be taught, and the pupil required to place dots upon the proper degrees of a nu*? staff (drawn off-hand upon a sheet of paper) according to the teacher's playing. this exercie with forms of two tones, a6 EDC, CEG CPC, etc. Play the three tones, then have the up te them, ora et dot spon the al fo corenrond fer a few carly actempts of this Kind, cause the pupil t0 tum the back to the ieyboard snd tl Sam ear whieh tones are played, dotting them after naming them. ‘This exercise “ontinsed from lesion t0 lesson, for tenty minutes st cach fie, will be of great wee to the musical comprehension ot the written exer SES chs ae 0 bs played with ach hand alone before playing. them with. the two hands together ‘The proper proportion willbe to play each exercise four times through withthe eight hand, an four times through withthe Jefehand then four times wit both hands together, Count. ing aloud the tine frm the very frst Te may not be thought neccosry forthe pupil to play so aany sos of neury the same degree of deity hue it Tettor to err i giving too much than too Kittle. Besides, i the exereises are given in sufficient quantity, there will not be too many of them. "In other words they wil be completed ‘within a reasonable lapse of time,