Consisting of Standard Etudes and Studies, arranged in progressive orders Selected from the best composers for the cultivation of uw wo wt ut 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 ww ut MODERN STYLE OF PLAYING SonEeEn _> W.S.B.MATHEWS TR ne St oe STANDARD GRADE STANDARD GRADE VI STANDARD GRADE Il | STANDARD GRADE VIL STANDARD GRADE Il &§ STANDARD GRADE VII STANDARD GRADE _IV. STANDARD GRADE IX STANDARD GRADE V STANDARD GRADE X PRICE, $1.00 EACH GRADE Pifladelphia i “Ehime Str.IMPORTANT FOR MUSICAL WORKS STUDY AND RECREATION Four-Hand Parlor Pieces , 50 cents ‘Album of Lyrie Pieces FoR THE PIANO Price, 50 cents Popular Parlor Album FOR THE PIANO Price, 50 cents Price, 50 cents Franz Liszt Album We cat Compr oer 18 Poe Price, $1.00 FOR THE PIANO. Master Pieces FOR THE PIANO The Two Pianists [ACOLLECTION FoR FouR HANDS Price, $1.00 Practical Harmony (ON A FRENCH BASIS By HOMER A, NORRIS ta To Book ‘Son The Little Pischna BERNHARD WOLFF Price, $1.00 ‘he Organ Player Tl Compiled by PRESTON WARE OREM Monarch Collection Fecriodel Sia ea TEACHERS’ SPECIALTIES: pl? Lemon Books (Cardy Rated Che Send for complete Tine of ‘CATALOGUES, DISCOUNTS, TERMS, ETC, THEO. PRESSER, Publisher, 1712 Chestnut St., PHILADELPHIA, PA.] | | | Consisting of standard Etudes and Studies arranged in progressive order. Selected from the best composers for the cultivation of TECHNIC, TASTE and SIGHT READING. | é@aretully 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. 0 = ey STANDARD GRADE I = STANDARD GRADE Vi" Ne STANDARD GRADE Yi STANDARD GRADE j STANDARD GRADE I , STANDARD GRADE VII STANDARD GRADE IV © > STANDARD GRADE IX STANDARD GRADE V_ STANDARD GRADE X PRICE $100 EACH GRADE. Philadelphia “theodore Fraser. 1112 ChestnutStr: Cosgrigne 092 PreserNO 1245 : Course of Piano Forte Study. VOL... Preface. ‘The specific wack of the fourth grade is that of perfecting the phrasing, of which only the begin= rings haye been Isid in the earlier work Especially it is desired to lay the foundation of effective play- ing through the diversification of the touch, and the mastery of higher speeds than have hitherta been introduced, and combining these with phrasing in the hand not occupied with velocity. Breath and effect in playing depend very much upon the due employment of hand and arm touches, where they aro in order. Hence there are several studies placed in the present grade which have been included for the express purpose of ministeting to these needs, ‘The intention of each study is explained in the notes with sufficient clearness;therefore it is not necessary to repeat in the present place Although some of the studies may appear rather difficult to timid teachers, it will be found on experiment that nearly every’ pupil will he ableto master them without inordinate practice: On the whole the editor offers this to his fellow teachers as the best collection of fourth grade ma- terial which he has found it possible to include within the Timits bere assigned. The authors are nearly all modern, and all the pieces ave @ dis, tinct mosieal value, apart from thelr ministry. as ewreises: ‘The Mason Tech- nie in the Fourth Grade. ‘The general task of the foueth grade is that of hroadening: the execution and preparing for tsk mastery of the keyboard for all purposes of par- lor plaving within the next two stages Three com plementary qualities are to be held contintialls in mind in assigning material for practice These are. Pieces suitab Classical. MENDELSSONN, Op. 16. Paotorta $0 VON WILL, N. Consonetta 0 BENDEL, FR, Op. 92. Noetuewr 0 DE KONTSKI, CHEVALIER, Op. 120. Menuet Lonie AT JENSEN. 7h Will a Ry STEPHEN. Op. 48 NO. Little Parantelle 30 INR. Op. 124. Slumber Song 10 GRIEG, E. OpARNY 7. album Leaf KE, O72, NB &, Sonatina » FLSSONN,P Op sm, 8O4.Some Without Marts. «20 HELL Stundard Third and Fourth Grade Piceos,Compiled by WS B Methews Modern Student. Vol. IT, Varfous Composers, Copyright 1652 by Theo Prever 100 4. Facility, 2 Tonal-Range,in respect to gradation of tone ccoius wnt 48, Musical Intellizeace Hence the Two Finger Exercise in all its varieties uf touch, and the different forms of sequence directed in the revised edition of Vol. of Touch and Technic, are to he made a part of the daily practice, to the extent of from tea to fifteen minutes. The utmost care is to be taken to so diversify this part of the practice that the pupil will not omit any one of the radical types of touch there directed, but keep, them all within reach and constant practice. ‘majority of the studies in this collection il- lustrate scale principles: when the pupil is occu pied with one of these, its proper complement in the Mason exercises is to be found in the Arpeg- gins, which are to be carried through more and more difficult forms, and always with the diversi- Tied touches directed in Vol. IIT of Touch and Tech- nie.All of this, However, must not oecupy more than fifteen minutes daily. The forms should be Those of Nos.6 to th in the Arpeggios In several studies the arpeggio principles predominate, and in connection with these num bers scales should he practiced according’ to Ma. son's pattern forms No=.% to B in the Scales. ‘The proper complement of the plaving 4m this grade should be shorter pieces by the best writers, expecially those of the first half of my Phrasing , Book II These can be played from other editions jist os well iT the teacher sill “ake the trouble to, jdd the phrase marks, and explain thy cvitical Solints. The order of secession in the book is not essential, but it has been found beth apreeable te students enerally "ne valevleted to improve the taste. and relieve the attention through the con ~ stant change ftom one style to another. le to this grade. Popular. BOHM, (Op. 282. Frulic of the Butterflies $ MOSZROWSKI, M.Op.13,N2 1. Serenade 20 GOLDBECK, 1-07.12. L' Amazone Moar 33 GANZ,W, Op. tt. Words of Love 3 LE HACHE,W. The Soitor Boy's Dream 0 HOUSELY, HENRY. dye Gow” Days Dower Antigue 50 DOLES, RLOp.7. Conervt Milfs 0 GOFKDTLERGR. Beening Stor Reverie Abrnufotern Tedumeret 50 VANGE LANDON, Cyt NUH. Fawee Malte 2 MACPARREN. Golden Stanbee ‘to S picces, 100 pages, Classical & Populart00 Copyrseht 1910 Oy Theo. Presser Co.Love Song. S In this beautifat piece the melody liesin the baritone | singingtone and kept as legato as possib range, and loplayed mainly by the ihumbs, the lower | Pavimeat very dulet and harmonious. The pedal isused hoteoboing taken by the ieit hand and the higher ones | upon the accents andupon each melody tone, where¥er, bythe right. The melody to beplayed with «full and | itsuse does notcreate confusion fa the harmonic ‘Allegretto sostenuto ed amoroso. N.M.¢ = 112 A. HENSELD, Op. molto cantabile ; wi , eresctseail a tempo,‘This study by & modern French composer Is useful for a variety of purposes. ‘The wertole figure is a gpecies of “turn? excellent for finger development the staccato chords will furnish practi the toueh, n the “up-aem" touch; the octave work will promote vlasticity of ‘Tempo guisto 31 > E,NOLLET arasiontL to 2h we, 7 aie Sf rivolito LS >> —— ae — a> prall.| 8 4 = = dolee -i oF Veuve Whispering Waves Wellengefliister A study in sulody-playing in combination with an accompaniment divided between the hands; alto a study in grace- fol execution, style and phrasing. The melody must be clearly brought ovt withthe accompasiment. subordinated. iy increasing the speed this quer will be found valuable for arpegpio practice. ©. BORING Andante con moto, sa, 2-69-80 Copyright 1910 by Theo. Presser Co. Interuational Copyright Secured— “Chords and Leaps for the Left Hand Alone A valuable study for the left hand, promoting agility and security. Carry the arm lightly and easily “preparing’the hand by bringing it directly over the keys before striking. Practice without pedal, slowly at first,then gradually fast- er. Afterwards use the pedal, carefully following the changes in harmony. Allegretto a.m. 4=50-80 1. BIRKEDAL~ BARFOD =40 ‘An excellent combination of smooth fingering and capricious phrasing. Be sure that the triptet_ motion ly along, none of the tones being slighted or burried; meanwhile the bass must attend carefully to its phrases, the long tones, as at d) being sustained their full time. e)Hold the soprano tone its full value, Keep the time exactly and let the movement be rapid. KRAUSE, Op.2.3 Allegretto. MM. reereg =;A. most interesting study by Heller. The running work, whether by the right hand or the left, is to he played with a very fine, even finger legato. It will be useful to practice it occasionally with espe ~ cial care for raising the fingers preparatory to effecting the touch. The short phrases in the answering: part, b) must be made very strong, the hand falling upon the first tone and rising from the second. The Little phrase has two accents,a melodic upon its first tone and a measure accent upon the second. The result is that the two tones are very nearly equal in intensity, but the touches are exact opposites. At c) a hand staccato is used; the finger staceato may be used by those who prefer it. The only ob- Jection is that it is apt to make these tones too prominent, through the vitality characterizing’ it. At d) the last tone of one group must be connected with the first of the following group. Allegro assai.(a = 126.) STEPHEN HELLER, Op.96.18o ‘The following pleasing study is much more modern tha: new will at first be inclinet to regard it as materially following directions be carefully observed. The bass tom hand is to be so placed that all the tones in the phras play the right hand with a pure finger toveh, and the here much if any help trom the fingers. The second phr he same figure « fifth higher. Inthe third phrase, at c) the left hand bus to skip, aid the touch partakes more of the arm character. ‘The problem is fo secure a perfectly even and rapid rvs. without any hitches. In the Serond part I1.the left hand has runs, but the right hand has a partake of the character of a diss he attained easily if they h played with « “down-arm? to connect the chord at"four” with that at “ane. (ch) tie well ander the fingers. Th and staceatoy which dows not need ng melody. The chords at the fourth beutof every measure interruption of the melodie flow, and the proper Ly 3af eteeee! f tibet oleae te ter co16 This is of the most useful exercives in the book.When played with the proper tempo and shyth- mic sxing it gives a very noble effect. The finger work at a) is always to be very strong. The touch at b) the up-arm. The thirtysecond note d) is to be jammed close on to the chord following’The chord ©) Is to be played very strong. At f) the rythm must be very sharp and decided. Motlerato energicote = 22)Air a la Bourrée inG , G.B. HANDEL, Atlegro moderato y.aiJas a, cee Pl Py sg tialoT ie ty20 This effective stray is made up almost entirely from two motices. The running work, (D which is al- ways to be played very firmly, and with high finger action, and (2) the short phrates, 6) ele, which are Ziwavs (o be played strongly and phrased with great determination. Eesentially the phrase begins with 4 dovn-arm and ends sith an op-arm.Whea the parts change, at ) and the same principles. are to he applied (othe opposite hands. Ate) the short phrases are begun with a Jown-hand {ouch nd finished with a finger or“up- band” toucb. “Alegrtto moterata d= 106) ELLE, Opa, Se: wl: 4or Prelude. This Prelude by Loering will be thought too difficult by the majority of teachers, but it is not Is 4 splendid exercise in accenting by means of the arm in connection with dinger broken eb ards. The accented tones in both hands ate to be taken with the down arm touch and held their full time. No el- t hand. When i is Lime to prepare for three” fort is mate to conneet the two melody wighths in the i the hand is picked wy and planted upon the ker: the legato is accomplished by means of the pedal, It “in the bass be svificient for defining the meas 1s very Important, moreover, that the accent upon “on tremely important. It con- ture, Owing to the continuous emphasis uyon the fifth fingers, this study is duces to breadth and dignity beyond almost any other study in the entire collection Mera agitate, MM 8 104 nwa ans 82wad Choral Octave Study. Maid 66-80 Spsempre= fo >tenuto J EMendecssohanfrom Op.35, Not WeFinsse” aim Pp dim. PD ste S32! WFO Mis BSS Fis B53Little Prelude.SUPPLEMENT TO STANDARD GRADED COURSE OF STUDIES, VOL.IV. i Price 25 ¢ On the Village Green. A capital finger study. After it has been well practiced, increase the speed until it can be played with great spirit. The si cteenth notes in this piece should be played almost non fegalawith considerable individ- tality. THEODOR KIRCHNER, Op.71. 1s a 3 Sag Poco Allegro. u.,J:40 a tempo, Before proceeding to Grade V.if more material beneeded, Ten Melodious Studies in Velocity, Op.880, by. A,Sartorio, may be used. 1245 ¥Staccato Etude. To be played with a light handtouch. It is not necessary to change ers upon the repeated notes, exceptinafew instances where one has to get ready for a new position. |A) The longer tones must be held out in full and be made to sing B) The slurredtones must be held out and resolved legato in the following tones. Additional benefit can be had by practicing this with changing the fingers, as e.g. in the first measure: $144 3424 When the compass extends to the full octave this is not possible, It Will be advantageous to practice this also each voice by itself, using the same fingers and touch as when both voices are played. Practice also in triplets, giving each beat three notes instead of two From CARL HAUSE, Op. 402. Allegro. Seiv Elfin Dance. A pleasing study in scherzo playing,The sixteenths even, well articulated, precise, yet light. The pedal, if used at all, must be held but little if any more than thetime of an eighth note, and merely for the pur- ¢ of affording the fundamental a little more res- a ia oreetion Mat. de 60 Vivace con grazia,{Z7metice, MM. « 1245 onance. The tones before rests are alwaystobe played with a finger staccato, the hand (and perhaps thearm) springing up a little but not enough todelay the move- ment. At a) the sustained tone is held out its full Jength. ADOLF JENSEN, Op.33, No.5.D syatatensse B of dim, tempo.vr Thistle-Down Fancies. In this pleasing piece the main thing is to get the rune very light, ¢ 1 rapid time. The played staccato. This gives time to get the next fol- lowing note. At first, practice somewhat slowly; la- ter work up the speed. Then becarefulof theexpression, Hl RAVINA, Op 4 and in rat eighth-notes atthe end of the phrases are always Allegretto.s1m.d=92 23viii PRELUDE. Allegro Moda, stat, - yt GF motte rit, ee ET eet ——— ao Oo SS e5 .